2k64 PAGES

Coat of Anns used by Francis Bacon

CorrespondenceEditor's Comments

AUTUMNNUMBER

VOL.XXXIII

通64th YEAR

1949 No. 133

PRINCIPAL FEATURES OF THIS ISSUELaurels without Learning

By W. G. C. GundryThe Riddle of the Phoenix and the Turtle

By Holmes WatsonThe "Shakespeare" QuizBy Edward D. Johnson

Bacon or Shakespeare—It Does MatterBy John Thuri.oe

I.

2.

annum.

Name

Address.

Subscriptions are payable on January ist each year, but those

The objects of the Society are expressed in the Memorandum of Association to be:—

To encourage study of the works of Francis Bacon as philosopher, lawyer, statesman and poet; his character, genius and life; his influence on his own and succeeding times and the tendencies and results of his work.To encourage study of the evidence in favour of his author- ship of the plays commonly ascribed to Shakspere, and toinvestigate his connection with other works of the period.Annual Subscription: By members who receive, without

further payment, two copies of Baconiana (the Society's quarterly

joining later in the year can receive the back numbers to date.

Membership;All applications for Membership should be addressed to the

Hon. Sec.: Mr. Valentine Smith,Thatched Cottage, Knowle Hill, Virginia Water, Surrey.

ORDER FORMI desire io become a Full Member/or Associate of the Bacon Society (Inc.) and enclose £i is. as Full Member, or as an Associate, 10/6

The Francis Bacon Society(INCORPORATED.)

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Magazine) and are entitled to vote at the Annual Genera 1 Meeting, one guinea; By Associates, who receive one copy, half-a-guinea per annum. All subscriptions payable on January ist.

Hon. Treasurer: Mr. L・ Biddulph,32, Hatherley Road, Sidcup, Kent.

w 9岫曲甲

the phoenix and the turtle[Design by Holmes WMsoi]

Gb。1咖颇工祝回社l@・. ' . • '• . 1

By William Shakespeare

BACONIAN A(64th Year) No. 133. Oct1949VOL. XXXIII.

papers.

sing Masonic Ritual, in which interesting observations were made

TN our Summer Number we published an article entitled ''Shake-JL七 一 L、produced certain University customs and persons known only

easily credible in the case of Francis Bacon, who was up at Trinity 「L ..................................................... ~ . e ，’otherstrangers to the University, and especially to frvagrant actors**

COMMENTSNothing doth more hurl in a Slate than that cunning men pass for wise bacon

speare and Cambridge Universityby Mr. Stewart Robb, who . to

Cambridge of the Shakespearean period which proved that the great playwri赢t possessed intimate inside knowledge denied to others, easily credible in the case of Francis Bacon, who was up at Trinity College, but could not have been known to Shaksper of Stratford, or other strangers to the University, and especially to f^vagrant actors" who were barred from it. We challenged the Stratfordians to meet this claim on the facts and offered to publish any response on their part, but so far there is silence! The professors and scholiasts remain

copies of Baconiana were sent to them, Does it signify that theysignificantly silent as also their faithful hounds of the Press, although copies of Baconiana were sent to them, Does it signify that they have no answer ? Are they beginning to throw up the sponge ?* * *

That Baconian literature, and its unanswerable case to all wlio study the subject free from bias is beginning to bear fruit, is becoming more evident from many indications of correspondents in the news­papers < In the opening article in The Freemasons Chronicle of July 9th, is an article by W. Bro. Dr. E・ H. Cartwright, P.G.D., discus-

about the Baconian cause from which we give a few extracts:''As you probably know, a steadily increasing number of people, of

whom I have been one for some forty-five or fifty years, have become *Baconians/ a term that is habitually used to imply that they are con­vinced ,as the result of careful consideration of all the pros and cons, that Francis Bacon (or Viscount St. Albaji, as he was in his later days), a man possessed of one of the greatest intellects of all time and whose memory has been subjected to the most unjust vilification that ever fell to the lot of man, was the author—as part of a gigantic output of literary material— of the plays that were collected and first published in folio form, in 1623, under the pseudonym of William Shakespeare,

''I am, of course, well aware that, as it is only natural, practically everyone when he first hears that theory mooted, hesitates to accept a proposition that cuts clean across the ideas that have been instilled in him

185

BACONIANA,Vol. XXXIII 66th Year

CONTENTS

Frontispiece THE PHOENIX

EDITORIAL COMMENTS 185

巧3

200

208

212

222

226

233CORRESPONDENCE 244

THE RIDDLE OF THE PHOENIX AND TURTLEBy Holmes Watson -----

LAURELS WITHOUT LEARNING By W. G. C• G^cndry -

DOGMA VERSUS KNOWLEDGE By R・ L. Eagle -

BACON OR SHAKESPEARE—IT DOES MATTERBy John Thurloe -------

BACON AND ESSEXBy H. Kendra Baker ------

FRANCIS BACON AND THE PLfilADE By R. J. W. Gentry -

THE SHAKESPEARE "QUIZ"By Edward D. Johnson

Note9.—All M.S.S. submitted with a view to publication (with stamped addressed envelope for return 矿 wnsuitable} should be addressed io the Editor of Baconiana, 50a Old Brompton Road, London, S.W.y.

PAGE

(in colour)

Society, entitled 4The Rosicrucian Three Treasures"'

,large section of the Popular Press, we do observe a widening of out-

of instruction. Bacon himself had the strongest personal motives for remaining concealed. Two interesting articles

of knowledge and philosophy by producing printed works and plays as means < ' 一

crucians are believed by many to be aware of the hidden existence of all Bacon *s lost manuscripts and other treasures.

* ♦ ♦

Despite foolish and ignorant flaunts and sneers on the part of a

7 v i werepublished in Baconiana last year (Jan. and April), by Mr. LewisBiddulph, our Hon. Treasurer and himself a member of the Rosi­crucian Society, entitled "The Rosicrucian 'Three Treasures which threw a hitherto hidden light on the activities of this Masonic organisation and the part played in it by Francis Bacon. The Rosi-

. Nor can we know whether thetwo ritual themes were incorporatcd^from the start or were later introduc­tions, though one cannot help regarding it as a possibility that the Hiramic theme at any rate, may have been adopted in the first instance as a sort of morality play."One would wish that Mr. Alfred Dodd were well enough to give

Dr. Cartwright all the answers to his uncertainties. It was organised, as far as our knowledge goes, as a secret society to advance the cause

look in regard to Baconian claims as already suggested. Attempts to belittle Bacon are arousing spirited opposition from their rea ders which is a healthy sign. We cannot spare space to quote all thesebut a letter which appeared in The Literary Guide by Mr. Edward Greenly —who is unknown to us—is typical of others. He made the discovery that lines expressed by Claudio in Measure for Measure, were derived from Dante hiferno, and must have been taken from the original as

''Within the last few years, Bro. Alfred Dodd, of Liverpool, one of *•' " present-day Baconians, has propounded his opinion

the founder of our Freemasonry. So far, I have an

* - he was originally) based almost entirely ition, the fallacies in which have been pointed out

Solomon Lazarus Levy, fiction and supposition, tt detail in E. D. Johnson's Shakspev Illusion .・・

the most erudite of that Bacon was also .open mind on the subject because I am not satisfied that Bro. Dodd has, as yet, supplied sufficiently definite evidence in support of the proposition, although he has provided us with distinct pointers in that direction. But in view of what we know of Bacon and his entourage, I cannot regard it as in any way unreasonable, and it certainly seems to " than the idea of the working masons "

, me far more probable- of Elizabethan and earlier times

had ever evolved such an organisation, as so many would have us believe was the case.

''At the same time, even if we acknowledge Bacon as the founder of our Freemasonry, we cannot evolve any theory as to the object and intention of its institution, the nature of its ritual, or why it should have been org­anised as a secret society, any more than we can accept the view that it originated among a body of working men. Nor can we know whether the

tions, though one cannot help regarding it as a possibility that the Hiramic

COMMENTS 187from his earliest days, so that, while some people are sufficiently interested to look into the evidence and as a result become converted, the large majority, rather than disturb their self-complacency, refuse to investigate the matter and continue to believe that those plays were written by a Strat ford -on - Avon yokel, who, as a matter of fact, could not even write his name and of whom hardly anything is known, although an elaborate biography has been constructed for him by the late Sir Sydney Lee (or " 一 " as he was originally) based almost entirely on

. inThe Fictitious Shakespeare Exposed, and in The

should think about joining the Francis Bacon Society, where

two copies of each issue, and the right to a vote at the Annual General

revenue although all the officers are honorary. At the same time it

* * *Mrs. Beryl Pogson delivered an interesting address on this same

play Measure for Measure to the Discussion Group, held at 50a Old Brompton Road, at the end of last year, which was published in ourNew Year Number of 1949. Mr. Greenly, and others like him,

• ....... ................... ：，■ 一 •" 〜，L - ' anexchange of ideas is encoure^ed. Anyone interested has only to make application to the Hon. Sec., Mr. Valentine Smith (see inside cover for details), and the cost is only 10s. 6d. per annum

azine has trebled in price since the beginning of World War II, and it seems likely that before long it will be necessary to adjust the subscription unless our funds are considerably augmented in other directions, for the annual expenses considerably exceed present

is a matter of satisfaction that membership is steadily increasing t nor is there any doubt whatever that there are thousands of personsto-day who are Baconian-minded and yet who are not members, but would in many instances be ready to join if given a friendly hint. They certainly get value for their small subscription because apart " ■ • • — , ' ,、‘•，, i

scattered during the war but will be brought

the subscription in receiving this organ alone, apart from other privileges, such as our lending library free.* * *

It should be stated here that the cost of production of this mag-

would in many instances be ready to join if given a friendly hint.

from the receipfof Baconiana and the ability to borrow books from our library—it was i

To bathe inI__ p

The last of these lines, not a conventional picture of hell, is almost word

English translation of Dante in Elizabethan times. But it is known that、.cl Id an T + ft ''

, native of Stratford-on-Avon. Whatoriginally predisposed me to that view was the triviality of the details which have (with a great amount of laborious research) been ascertained concerning the career of this William Shakcspere. Then, for a long time, my view was that the author of the dramas was some great Elizabethan whose name has not come down to us, but I did not subscribe to the Bacon

that theory than I had formerly supposed. Here is a point which I have not seen i , ‘ , • … ‘

■ * \ , 1 as AssociateMember (without a vote at the Annual General Meeting), and it includes one copy of each issue of Baconiana, which is the amount of the subscription; or, for one guinea as a full member it includes

Meeting. Thus every member it is seen reaps to the full the value of

188 COMMENTSno English translation of it was in existence. Bacon, as we know, travelled in Italy and studied her literature in the vernacular.

The Stratford Mythceasedf many years ago, to believe that the Shakespearean dramas

were written by the actor who was a native of Stratford -on -Avon. What originally predisposed me to that view was the triviality of the details which have (with a great amount of laborious research) been ascertained

that the author of the dramas was some great Elizabethan

ian theory. Latterly, I have come to see that there is more to be said for

in any publication* In Measure for Measure Claud io t pleading for his life witii his sister, says:——

* 'and the delighted spirit fiepr floods, or to reside

In thrilling regions of thick-ribbed ice.''

for word out of Dante's Inferno, though there was, so far as I know, no English translation of Dante in Elizabethan times. But it is known Bacon travelled in Italy. Edward Greenly''

Bangor, N, Wales

was

composed ・* *

Bacon *s own words in his Apologie, addressed to the Earl of Devon­shire, which reflect his agony of mind at the time this very poem was

* * *It is a melancholy poem showing that the writer at the time was

undergoing a period of intense stress and unhappiness. It is common knowledge that in the years 1599-1600 and later, Bacon was under­going a terrible mental strain and anxiety. His position in having been forced to prosecute Essex in the latter *s two trials in 1599 and

reprinted in 1611, under another

another general title. I would express my obligation to Mr. R. L・ Eagle, who gave me the above information, and informed me that he had written an article on this same subject as far back as 1916. How far the present writer has solved the mystery remains to be seen but the members present at the Discussion meeting unanimously approved of its publication.

1600, by direct order of the Queen, had discredited him in the eyes of the world. He had been openly insulted by Coke in public. Lady Bacon, to whom he was devoted, suddenly became insane and, in1601, he suffered another great blow by the death of Anthony Bacon, his closest confidante and supporter. To have appeared against Essex—his own brother according to the Cyphers—suggested the basest treachery and his reputation was badly clouded. Turn to the 14Bacon and Essex'' article, elsewhere in this number by the late H. Kendra Baker, who perfectly sums up the situation at this time from

COMMENTS 189under one roof shortly—there are the Discussion Group meetings and other social events all of interest < Present members might canvass for us and make a point of each bringing in at least one new member a year. In addition lecturers are invited to offer their services to recruit new members. Let recollect that the Society exists, not only to obtain recognition of Bacon as the real Shakespeare, but to expound the magnitude of his wisdom and philosophy, his teachings, of which the world stands in dire need of to-day, and in short for uplift and widening of outlook in the present times,* * *

At the Discussion Group meeting on September 6th, I priviliged to give a talk on the subject of an article elsewhere in this issue entitled ''The Phoenix and the Turtle/1 by Holmes Watson. This poem has never yet been satisfactorily understood or its inner meaning revealed. It was originally included in a volume of poems entitled ''Love's Martyr or Rosal ins complaint, allegorically shad­owing the truth of Love in the Constant Fate of the Phoenix and Turtle, A Poeme enterlaced with much varietie and raritie; now first translated out of the venerable Italian Torquato Caelino, by Robert Chester/* Much more follows but it suffices to say that other poets contributed to this work including Ben Jonson and ''William Shakespeare/* all using the Phoenix and Turtle-dove as their allegorical theme. It was . . ・• * "title, or, rather, earlier unsold copies were re-bound and issued under

】9。

me.

stood—so that the general would take it as relating to James I but the ones with insight would understand.

♦ * ♦

under which it was written his intention seems to indicate that he was at the end of his tether. His own career was ruined, his reputa­tion damned, his character blackened, and to anyone of a poetic temperament he would feel his creative genius was also doomed. Thus the idea of the Requiem for their fame, * *co-supreme and stars of love'' had reached finis, hence the ''mutual flame'' and ,'ashes/1 In such a setting there must have been a reason for the introduction of the * ^shrieking harbingerthe eagle, swan, and ^treble-dated crow. If any readers criticise the author s efforts to identify these let us hope they will be constructive and not merely carping.

COMMENTSMr. Holmes Watson has endeavoured to identify the ''birds''

who assemble at the Requiem of the Phoenix and the Turtle-dove, the Phoenix being of course Bacon himself and the Turtle-dove his poetic muse, ' Shakespeare/* If we accept the poem in the strain

♦ ♦ ♦

Mr. Eagle, of whom it is right to say saw the early and uncorrec­ted proofs, proposed that the article should not be published and offered to write one himself on the subject. I hold the highest regard for his learning in all matters relating to Shakespearean matters, but for all that some of his criticisms regarding the aforesaid article are unacceptable to me. He dismisses, with contumely, for example that Bacon would have used an eagle to allegorise Shaksper, the actor, ''It certainly is a 'bloomer' to say that the crest on the Shakespeare coat-of-arms is an eagle", he writes, ‘‘when the Heralds made it a falcon・ A falcon is a small bird of prey and cannot be made an eagle ・'' Cannot it ? Turning up the word ' 'eagle'' in the New Gresham Encyclo­paedia (vol. iv. pp. 133-4) by my elbow, it says, "The general name of raptorial birds that form a group or sub-family, (Aquillinae), of the great family Falconidae, which includes the eagles, falcons, and hawks". So the eagle is of the family of Falconidae! Mr. Eagle is incorrect about his genus! He must forgive me if I suggest that if he so desires poetic license might justify the use of ''eagle" in place of ''falcon.'' Again, he is very cock-sure that the words put into Cranmer's mouth at the christening of Elizabeth, were intended to apply to James I. So the ''maiden phoenix" created on her ashes !'another heir as great in reputation as herself, who, from the sacred ashes of her honour shall star-like rise, as great in fame as she was, and so stand fix'd"! Bacon may have thrown dust in the worldfs eyes in 1613 when the Play was said to have been first written, but it is asking a lot to expect us to believe that after suffering ten years of James, with his huge, wobbling head, slobbering tongue, his gabble, bluster and brag, his vulgarity, his depravity, and his moral cowardice, that Bacon would so falsify the truth, as to descend to such craven flattery. Possibly Bacon worded the prophecy in which one phoenix became heir to the other—after a long period be it under-

Bristol. She writes to

Mr. Louis Kane, Brooklyn, who asks for information

Shakespeare, Prof. Porovshikoff's views have been contested often

I would like to quote from the address delivered on the occasion of the 370th anniversary of Bacon*s birth before the Bacon Society at Bath, by the late William T. Smedley. Mr. Smedley had been making an ex-

timc. Samuel Johnson in*the preface to his edition of the 1623 folio had

to emerge from barbarity.** ''Literature was yet confined to professed• .•了 . j was gross and

was an accomplishment highly valued

COMMENTS 191Mrs. Kate Prescott, of Franklin, Mass., our oldest American

member, whose late husband and herself assisted Dr. Orville W・ 1909 to search in the River Wye for the lost

Mr. Smedley, is that even Francis Bacon could scarcely have been the deus ex machina in his 10th year, even though he were a prodigy, who was then the originator ?* * *

It is pleasing that an increasing number of Americans are showing keen interest in the Baconian claims both in newspaper articles and in correspondence. We are asked many questions and in addition they are freely ordering the Society怎 publications. I have before me a request from Mr. Louis Kane, Brooklyn, who asks for information regarding the Rutland theories of Prof. S. Porovshikoff's work Shakespeare Unmasked, and of Claud W. Sykes' Alias William

Owen as far back as 1909 to search in the River Wye for the lost Bacon MSS. etc., is publishing immediately her book ,*Reminiscences of a Baconian," It relates the experiences encountered in an endless and untiring search for Bacon relics. This work, we are given to understand, with its secret passages, hidden panels, caves, and so forth has all the excitement of a detective drama and the suspense and anti-climaxes of a search for hidden treasure. The cost is S3.50 per copy, and copies may be ordered from Mr. Valentine Smith, Hon. Sec., at The Thatciied Cottage, Virginia Water, who will give the English exchange required.* * ,*

Mrs. Prescott, who takes a lively interest in all Baconian matters, has followed closely the controversy in Baconiana, on the subject of the Triade and Francis Bacon, between Mr. Gentry and Mrs. Myrl

me the following interesting letter, relating to an address given by the late William T. Smedley.

I would like to quote from the address delivered on the occasion of the 370th anniversary of Bacon*s birth before the Bacon Society at Bath, by the late William T. Smedley. Mr. Smedley had been making an ex­haustive study of learning and of the English language in Shakespeare*s time. Samuel Johnson in the preface to his edition of the 1623 folio had written: ' 'The English nation at the time of Shakespeare was yet struggling

scholars； or to men and women of high rank. The public dark, and to be able to read and write、 f - 二•* _ ?there was no recognized and accepted English language .. . or that there was anything more ・・ than a whole shoal of dialects . . I then turned to the Grammar Schools ・. and was astonished to find no English taught in them, because there was no English to teach.'' After 1570 books began to appear on a great variety of subjects and also translations from other languages. 遥■. Smedley says: **Between 1570 and 164 — nly seventy years—'' appeared a literature that ''was without precedent in the world*s history, and is without later parallel today .・ My investigations led me to this conclusion—that most of these works were written by one man or ―二一二―二 二 : with the object of an as part of a scheme for enriching the English language." He proceeds to give his reasons for

gross and

for its rarity/* Mr. Smedley comments on this as follows: **! found that •, - - - — • • - •was anything more ・. than a whole shoal of dialects . . I then turned to "- 2 " ___ ； ................ ..... ' —’Jxthem, because there was no English to teach.'' After 1570 books began to

-- - -r - - a

遥■. Smedley*says: **Between 1570 and 164 — nly seventy . J a literature that ' 'was without precedent in the world*shistory, and is without later parallel today . , My investigations led me to f' 1 ___二/ 二 二_ _ 一 … ---------------under the direction of one man . . . with the object of an as part of a scheme f •_!_ • f 1 1__________ _ ___，， TT-__________________ J__ 一，--- L.：- 一£—

believing that man to have been Francis Bacon.一Kate A. Prescott,The only comment one can make to this analysis by so eminent

a man as C ~

''concealed poet" any more than the Baconian claim for Francis.

Editor

was sufficient to account for Shakespeare's masterly know-1 intricacies which has always astonished our greatest

- any case 1598 is too late to account for Shake- atid Adonis, The Rape of Lticrece, Love's Labour

whereas ''Shakespeare'' was busily writing his Jater plays» revising

added to the fact that he was totally unknown as a poet or playwright' to any of his contemporaries, is sufficient to eradicate his name as having a spark of claim to the immortal works of Shakespeare. The advocates of Rutland have argued that there is no proof he was not a ''concealed poet" any more than the Baconian claim for Francis, The elegant volume of Manes Verulamiani, which will shortly now be on sale—a number of copies have been already ordered—should put an end to that canard in view of the tributes paid to his memory by learned and well-known men of his age.

192 COMMENTSsince his work of 1940 was published, for the learned Professor rather resembles the busy bee in fluttering from flower to flower, sometimes leaning towards De Vere, Earl of Oxford, at others towards Rutland, and half-heartedly towards Bacon, Of Mr. Sykes* effort, one may admit that his attempts to claim the laurels on behalf of Roger Manners, 5th Earl of Rutland, (1576-1612) are ably argued with a very weak case. Rutland toured in Italy in his youth, and visited Elsinore in 1603, the year before the revised and enlarged edition of Hamlet was published, although there is reason to believe that a play entitled Hamlet was written and acted previous to 1589. In the accounts at Dulwich College, kept by Henslowe is the entry ''9 of June 1594, at hamlet ・.viii s/* indicating Henslowe*s share of the profits. Either of these dates would practically rule out Rutland so far as age is concerned or any claim based on his visit to Elsinore.

* * *But, beyond this, there is not a scintilla of evidence that Rutland

ever wrote a line of poetry or could compose a play. It is all guess­work on the part of his supporters. Rutland entered Gray's Inn in 1598 and quitted it the following year but his biographer assumes that a year was sufficient to account for Shakespeare's masterly know­ledge of legal intricacies which has always astonished our greatest legal authorities. In any case 1598 is too late to account for Shake­speare^ law in Venus Mid Adonis} The Rape of Lt(creccf Love's Labour Lost and 1 Henry VI. His Venus and Adonis was probably written ' in 1590, if not before, when Rutland was only fourteen. The claim, however, is decisively knocked out by the fact that he died in 1612, whereas ''Shakespeare" was busily writing his later plays» revising and enlarging others, up to the production of his Folio of 1623, That,

very weak case. Rutland toured in Italy in his youth, and visited• - - - - - - ........................ *

Hamlet was published, although there is reason to believe that a play

accounts at Dulwich College, kept by Henslowe is the entry "9 of

poetry this great vocation/1

CAPACITY for perfect expression is

words (or any appropriate artistic form) ourselves, but which complete-

193

placed in as clear a light as possible.

Author of the Plays comprises something more than ascribing the

the impression that reality lies behind his words, and the spirit of beauty in turn behind that reality/*The little vve know of William Shaksper of Stratford-on-Avon

does not suggest the possession even of mere talent, let alone genius!The question of the authorship of the Plays known as Shakespeare's

being something much greater in its implications than is commonly supposed, involving (as we think) the whole Baconian philosophy, is far too important to be left to the ex cathedra utterances or pontifical fiats of professional literary critics or commentators, who are actuated by fear of loss of prestige if they leave the long established and academically sponsored path of orthodoxy. Ultimate judgment in this matter must not remain in the hands of this coterie of prejudiced

The little vve know of William Shaksper of Stratford-on-Avon- - ———— . ！The queSion of the authorship of the Plays known as Shakespeare's

being something much greater in its implications than is commonly supposed, involving (as we think) the whole Baconian philosophy, is far too important to be left to the ex cathedra utterances or pontifical fiats of professional literary critics or commentators, who are actuated by fear of loss of prestige if they leave the long established and academically sponsored path of orthodoxy. Ultimate judgment in this matter must not remain in the hands of this coterie of prejudiced literati, but the verdict must be left to the franchises of an educated .and discerning public, before whom all the relevant facts must be placed in as clear a light as possible.

It cannot be too strongly emphasised that the identity of the Author of the Plays comprises something more than ascribing the honour of authorship to one individual; it embraces the rounding off and explanation of the greatest contribution to a real philosophy of works rather than words; a philosophy which includes the advance and evolution of the whole human race, which is implicit in Bacon*s great restoration of Knowledge—the Instauratio Magna. The Plays are the key of this immense contribution to human knowledge—a visual ladder of the intellect, the Scala Intellectus of Bacon *s philoso­phy—a dramatic and visible representation and exemplar of his philosophic purpose<

LAURELS WITHOUT LEARNINGBy W・ G. C. Gundry

,4It is essentially the casualties and deficiencies of the real world, its imperfections and deformities, which have generated in the human mind the need of art; on the ground of this need art received its law and vocation to free us from all the baseness, unmeaningness, and ugliness which cleave to actual life, to elevate us to the serene height of a fairer existence, and imitating nature, to ennoble it. This law was not at all unfamiliar to the people of Shakespeare,s time. His contemporary Bacon gave

Shakespeare Commentaries, p. 860. Gervinus,

A CAPACITY for perfect expression is an attribute of genius, and we acknowledge this supreme faculty when we realise

x 里that in emotion, or thought (or any work of art), this has been expressed in a manner which we have felt, but could not put into words (or any appropriate artistic form) ourselves, but which complete­ly satisfies our aesthetic sense: only genius can attain to these heights*

As Herbert Trench wrote:—* 'The art of style is to add to beauty and precision of expression

194

has with man's nature, accompanied also by music, to gain

(x) My italics.

centuries to build may be destroyed in a few seconds by an atomic bomb, or other means of destruction. It was the desire to overcome these limitations by means of art that evoked the passage just quoted

j founda- ie dignity

mind, not (like reason and history) buckling and bowing down the mind to the nature of things.

"And by these charms and that agreeable congruity which it has with man's nature, accompanied also by music, to gain more sweet access, it has so won its way as to have been held in honour even in the rudest ages and among barbarous peoples F when other kinds of learning were utterly excluded.*1In the above passage Bacon enunciates the sense of frustration

and disappointment which every thinking person, and particularlyevery artist, feels in the sensible world in which we have our mortal being.

It is sometimes a surprise to children, particularly the very young ones, to find that it is easier to break a toy than to make it: in an ideal world it would be as easy to construct as to demolish. Mature persons regretfully accept the fact that a cathedral which has taken

LAURELS WITHOUT LEARNINGBacon in De Augmcntis Scientiarum (Bk. 2, Chap. XIII) writes:

"As for Narrative Poesy,—or Heroical, if you so like to call it (understanding it of the matter, not of the verse)—the " 'tion of it is truly noble, and has a special relation to the of human nature. For as the sensible is inferior in dignity to the rational soul, Poesy seems to bestow upon human nature

spirit of man a more ample greatness, a more perfect order, and a more beautiful variety than it can anywhere (since the Fall) find in nature,

“And, therefore, since the acts and events which are the subjects of real history are not of sufficient grandeur to satisfy the human mind, Poesy is at hand to feign acts more heroical, since the successes and issues of actions as related in true history are far from being agreeable to the merits of virtue and vice, Poesy corrects it, exhibiting events and fortunes as according to merit and the law of Providence; since the true history wearies the mind with satiety of ordinary events, one like another, Poesy refreshes it, by reciting things unexpected and various and full of vicissitudes.

“So that this Poesy conduces not only to delight but also to magnanimity and morality. Whence it may be fairly thought to partake of a divine nature; because it raises the mind and carries

accommodating the show of things to the desires of the

those things which history denies it; and to satisfy the mind with the shadows of things when the substance cannot be obtained . For if the matter be attentively considered a sound judgment may be drawn from Poesy, to show that there is agreeable to the

more beautiful variety than it

Francis Bacon's statue in South Square, Gray's Inn

Manes Verulamiani(The Shades of Verulam)

________

MANES VERULAMIANI

striking and ambiguous tribute to the great

believed to be in the Libraries

The thirty-two Elegies under the above title on

Memoriae Honoratissimi Doming Francisci, Baronis De Vcrulamio^ Vice-comitis

Sancti Albani Sacrum.

were publishedMay 17th〉1626,within a few weeks of the death of

Francis Bacon, Viscount St. Alban (died April 9th), and furnish a philosopher's memory.

The Shades of erulam are not, however, so much a lament for the death of a philosopher as a memorial to a dead poet and man of letters, which presents the most striking feature of these obituary poems.

The small and original book which contains these is extremely rare: the copy in the British Museum is the only one recorded in the Bibliographical Society's Short Title Catalogue: other copies areof Trinity College, Cambridge, and Jesus College, and All Souls, Oxford; while a fifth is in a private library.

The Francis Bacon Society has had photostats of the copy in the British Museum taken, and a book containing these will be shortly published in an Edition de Luxe limited

the text

to four hundred copies by the Chiswick Press: these will be numbered.

The book will be edited and contain an Introduction by Mr. W. G. C. Gun dry of the Middle Temple, together with a short bibliography.

Notes on the text are by the late Father William A・ Sutton, S.J., who also did the English translations.

Mr. Roderick L. Eagle, well-known for his Baconian studies, contributes notes on the writers of the Memoriae.

tobook; in this Atomic Age five

The object of this publication is two-fbld: firstly, perpetuate this very rarecopies is a small margin of safety for survival! and secondly, to make these poems vjith their extraordinary tributes^ avail­able to a larger circle of readers than would otherwise be possible.

It is hoped to publish the book in the course of the next few months.

surely the trump card in the whole

as great heart

number in cheap editions, and editions de luxe^ with specially tooled bindings for the great libraries of the world.

Baconians should insist more and more on the intimate connection between the philosophic works of Bacon and the Plays known Shakespeare's which are as the diastole and systole of one pulsing to the same purpose.

To put the whole case in a nutshell, Bacon's object was to dose the public with his philosophic medicine, disguised and made palatable by being visibly represented on the stage in the shape of plays：

“Invest me in my motley: give me leave To speak my mind, and I will through and through Cleanse the foul body of the infected world, If they will patiently receive my medicine"

As You Like lty Act II)Sc. 7.

In preface to the Great Instauratlon Bacon writes:“And the same humility which I use in inventing I employ likewise in teaching"

In the opening gambit of Bacon's tremendous philosophic game it was necessary that he should sacrifice the pawn of his name, and the glory rightly attaching to the authorship of the Shakespeare Plays. It was only by this means that he could insinuate his philosophic teaching under the guise of drama into minds hitherto darkened and obscured by the fruitless philosophies of the Schoolmen. There is a complete consistency in these tributes to Bacon's memory which suggests that they were instigated by a desire to stimulate inquiry among the readers of them: this, perhaps, was their paramount purpose. William Shaksper was a necessary feature in the vast scheme of BaconJs philosophic experiment, which has the world for its theatre, ages for its accom­plishment, and posterity for its beneficiaries.

The Manes Verulamiani arc surely the trump card in the whole Baconian hand, and should be given all the publicity possible.

There should be no stone left unturned to bring these revealing Elegies to the notice ofliterary men, and the educated public generally: had they been written on the death of William Shaksper, the Actor of Stratford-on-Avon, they would have been re-printed times without

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THE CHISWICK PRESS, N.ll

"Nay, it has been regarded by learned men and great philoso-

is it not a reasonable suggestion that he made use of this ' 'musicians

(*j Brief Lives: Aubrey was not bom until 1626.

that already quoted from De Augmentis Scientiarum he remarks:— "And we see that by these insinuations and congruities with

P) yth July, 1949. . ..

(4j The Essential Shakespeare, by Professor Dover Wilson, p・ 24.

instructions for the execution of it, or an example of the thing Can it be doubted that Bacon himself supplied this deficiency ?

.That he possessed this necessary dramatic talent we have ampleevidence in the masques at Gray's Inn of which he was ''The chief contriver/* Besides he was a c<Iearned man and a great philosopher": is it not a reasonable suggestion that he made use of this ''musicians' bow ?11 In a recent review of Mr. Ivor Brown *s new book Shakespeare in The Observer91 Mr. John Gielgud writes as follows:一

''One cannot help suspecting that Shakespeare must himself

phers as a kind of musician*s bow by which men's minds, may be played upon/,

A little further on in the same chapter he observes:—"Whenever I set down a work among the desiderata (if there

be anything obscure about it), I intend always to set forth either

、LAURELS WITHOUT LEARNING 195from De.. Augments Scientiarum: it is significant that it is immediately followed by a reference to the theatre and the stage:—

"Dramatic Poesy, which has the theatre for its world, would be of excellent use if well directed* For the stage is capable of no small influence both of discipline and corruption.

■ an orthodoxpassionately fond of music :4

have been an ace-director in addition to his other myriad gifts.'' Comment is superfluous beyond saying that we know that Bacon.

was a director of dramatic representations!It will be noted that Bacon mentions music in his observations

on Poesy: how necessary an adjunct this art is to the stage! imagine no music in a theatre!

In a passage in The Advancement of. Learning corresponding to

man's nature and pleasure, joined also with the agreement and consort it hath with music, it hath had access and estimation in rude times and barbarous regions, where other learning stood excluded/,We know that Bacon loved music, as we are told by John Aubrey

that he had music in the next room where he meditated.3It is not surprising therefore to be informed by

commentator that Shakespeare was 1 \the Plays themselves are evidence of this predilection.

The parallels of taste between Bacon and Shakespeare are almost infinite, and it appears extraordinary to us Baconians that the orthodox should be so blind to them; but if the facts which have been discovered about the life of Wiliam Shaksper do not accord with the orthodox

Sonnet 87.

experience is not as good as

sd shortly in fascimile by the Francis Bacon Society.

198 LAURELS WITHOUT LEARNINGwe wax eloquent, and can extemporise in verse far beyond our earthly capacity—

''In sleep a King, but waking no such matter.**

impressions more lucidly and completely than in the case of ordinary mortals.

The late Sir John Cockburn held the opinion that every child was a potential genius.

As Lord David Cecil writes in the work already referred to:— '*This is a dark and paradoxical mystery, in whose shadow lurks the whole question of the fundamental significance of art. Why should we feel that the experience given pus by accomlished works of art, whatever their subject matter, is agreeable; and not only agreeable but also precious and illuminating? Surely the answer is to be found in the fact that the soul is bom instinctively desiring order, harmony, beauty; but finds herself in a world disorderly, dissonant, and in great part ugly. In consequence she is for ever unsatisfied. The very best of our 、our dreams; our most exquisitie moments are flawed and frag­mentary, And they are ephemeraL Even as we gaze the sunset fades, the apple-blossom sheds itself and scatters/*We have already referred to Mr. Ivor Brown's new book, Shakes­

peare―here is another significant passage from a second reviewerProfessor Charles Sisson, in The Sunday Times9 which is strangely applicable to Bacon, though not to Shaksper:—

**It is strange that in Mr, Brown's excitinghis own Shakespeare he, of all men, sho

not only this, but a dramatist as well!】7th :

To be

The mists of enchantment vanish in the light of day!It may well be that genius has a special power of retaining these

j voyage in search of iould on arrival have

recognised only the fellow mortal and fellow craftsman, and not the fellow-artist following his star while he also drives his trade with competence and authority,

"The brightness that fell from the air when Shakespeare died, to quote the moving words with which Mr. Brown closes, was indeed of this magnitude. The book must be read if we would learn how deeply a man can both know and feel the presence of this brightness enduring in the creative mind."It is curious to note that when the alleged brightness “fell from

the air when Shaksper died'' (it is evident that Mr. Brown refers to the Stratford Actor), little notice was taken of this fall of a supposed literary luminary, but when Francis Bacon died ten years later a dirge of lamentation went up from both Universities and the Inns of Court and took the form of the Mane$ Verulamiani9 which comprise thirty-two elegies in which Bacon is bewailed as a supreme poet, and

】99

(10) Discoveries.(11) Professor Dover Wilson in The Essential Shakespearet when consider­

ing the possibility of ''Shakespeare'' having been, educated at the Grammar—1 a 4- — A ♦ha c—kcc Lmzl 嗣

LAURELS WITHOUT LEARNING‘‘The Star of Shakespeare pales, but brighter far

Bums through the dusk an ampler star/*Elegy XXIII expresses the idea in a similar

(ii) Professor Dover Wilson in The Essential Shakespearet when consider-

School at Stratford-on-Avon: iw writes (p. 41): ''On the other hand, there is not a tittle of evidence to prove that he went there.''

manner:—“Jam rutilo Vcrulamia fulget Olympo” (The Verulamain star now

glitters in ruddy Olympus").Ben Jonson10 wrote of Bacon:—

^In short within his view, and about his time were all wits born that could honour language. Now things daily fall, wits grow downward and eloquence grows backward, so that he may be named and stand as the mark and acme of our language.How curious is this difference in the treatment accorded to these

two men at their deaths, and it may be added, how significant!Yet it is not more curious than the contention of some of the ortho­

dox school of Shakespeareans (though not all), whose thesis is that **Shakespeare1 * (or Shaksper) earned laurels without learning, pos­sessed erudition without education (of which "there is not a tittle of* *Shakespeare * * (or Shaksper) earned laurels without learning,

evidence'')】，and that he wrote a marvellous play cycle which falls fortuitously into a grand design of supreme beauty.

"O! Mighty Poet!"

and hitherto incomprehensible poem, which has defied elucidation for over three

thus apall'd

Neither two nor one was call'd.

Let the requiem lack his right.

(*) These verses were among the additional poems to Chester's "Love's Martyr",

Here the anthem doth commence: Love and constancy is dead; Phoenix and the turtle fled In a mutual flame from hence.

dated 1601. The name "William Shake-speareM is subscribed to the poem.

200

Whereupon it made this threne To the phoenix and the dove, Co-supremes and stars of love; As chorus to their tragic scene.

So between them love did shine r That the turtle saw his right Flaming and the phoenix sight: Either was the other's mine.

Reason, in itself confounded, Saw division grow together; To themselves yet either-neither^ Simple were so well compounded-

So they loved as love in twain Had the essence but in one; Two distincts, division none: Number there in love was slain.

That it cried how true a twain Seemeth this concordant one I Love hath reason, reason none, If what parts can so remain.

And thou, treble-dated crow, That thy sable gender mak'st With the breath thou giv'st and

tak'st, shalt thou

go.

Let the priest in surplice white, That defunctive music can, Be the death-divining swan,

Let the bird of loudest lay, On the sole Arabian tree, Herald sad and trumpet be. To whose sound chaste wings

obey.Hearts remote, yet not asunder; Distance and no space was seen 'Twixt the turtle and his queen: But in them it were a wonder.

From this session interdict Every fowl of tyrant wing, Save the eagle, feather'd king: Keep the obsequy so strict.

But thou, shrieking harbinger, Foul pre-currer of the fiend, Augur of the fever's end, To this troop come thou not near.

Property was That the self was not the same; Single nature ,s double name

'Mongs t our mourners

THE RIDDLE OFTHE PHOENIX AND THE TURTLE ⑴

By Holmes Watson

The writer of this article haS offered a notable solution to this mystifying

centuries. EDITOR.

RIDDLE OF THE PHOENIX AND THE TURTLE 201

the Editor I propose to expound what I believe to be the

Francis, 33=Bacon. ''They say there is divinity in odd numbers.(Merry Wives of Windsor) and the

Here then it may be claimed is common ground for all Shakes- • - ■ _............................ > a

mystery; a secret, whose thoroughness carefully conceals of its inner intent. But what great secret could Will Shaksper wish to hide? His life as an actor had presumably been fairly successful and when

of Letters* * should offer a prize for its solution. It has mystified liter-

、J ・ Since it was published under the magical name of Shakespeare there can be only one answer: It must be packed with

To this um let those repair That are either true or fair； For these dead birds sigh a

prayer.

Beauty, truth, and rarity, Grace in all simplicity, Here enclos'd in cinders lie.

Death is now the phoenix' nest ； And the turtle *s loyal breast To eternity doth rest,

ary pundits for centuries. To the reader it is exquisite but totally meaningless. 厂 "r-- -meaning. Then why has it been neglected so long? Has learning grown too aged and dignified to stoop to such trifles. ?

pearean lovers. Somewhere within its ravelled symbolism lies、I \

intent* But what great secret could Will Shaksper wish to hide? His life as an actor had presumably been fairly successful and when he went home it was with a fortune for those times and presently a coat of arms. The fickle dame had never smiled so sweetly on either authors or actors as it did on this rustic, whose profession was so despised that vagrant actors could be denied the right of Christian burial!

If then, there is a secret, how shall we unlock it? Surely the author must have provided the key? Master Will characteristically is silent about secret cyphers but Francis Bacon has much to say about them. He used a number but favoured the simplest! and nothing could be simpler than his simple numerical cypher ? Thus:—67=

''Good luck lies in odd numbers.cunning use of Initials.

Cyphers of course» were popular in Tudor times, and always will be where power is autocratic. If you wished to say anything dangerous you said it by cypher or lost your head. Wakingham's spies decoded all Queen Mary's Stuart's cyphers and she lost hers!

As we reflect on the poem one thought arises. If the author had regarded his mysterious "Phoenix and Turtle'' as of great importance

Leaving no posterity:—'Twas not their infirmity, It was married chastity.

ITH the encouragement, counsel and the guiding hand of f --- ~ … . • .................................................true rendering of The Phoenix and the Turtle. For genera­

tions the spirit of Tantalus has haunted this poem.Emerson was so intrigued by it that he suggested "the Academy

THRENOSTruth may seem, but cannot be Beauty brag but 'tis not she; Truth and beauty buried be.

RIDDLE OF THE PHOENIX AND THE TURTLE

The operative words

The date of the poem is 1601 in the Queen,s reign. This was his i … ■一 .■ 一 一 …一 '

played in the Essex rebellion, and all his dreams were shattered. He

The operative words are \ was never one to decry his wares. Where in English literature could

202

he would, naturally, insert some pointers toward it in his plays and poems.

Quite accidentally I stumbled on what I think is the first one. In Sonnet LV we read of the word ''rhyme'';

one find more 'powerful' verses than in these two sonnets ? Then why should one be called ''poor rime"?Sonnet CVII needs investigating:—

Not mine own fears, nor the prophetic soul Of the wide world dreaming on things to come Can yet the lease of my true love control Supposed as forfeit to a confined doom. The mortal moon hath her eclipse endured And the sad augurs mock their own Presage; Incertainties now crown themselves assured And peace proclaims olives of endless age. Now with the drops 一一一 一一 My Love looks fresh

Quite accidentally I stumbled on what I think is the first one. In Sonnet LV we read of the word ''rhyme'';

•*Not marble nor the gilded monuments of princes, shall outlive this powerful rime ・；''

apart from the amazing prophecy which follows where is the pointer ?A moment before I had read in Sonnet CVII,<4My love looks fresh and death to me subscribes since, spite of

him, 1*11 live in this poor rime."poor" and 'powerful'. Shakespeare

tragic year when his name 'received a brand* for the alleged partjte

little knew that he would soon rebuild a new reputation and that his enemies would seek to destroy that too at a later period.

The Universal English Dictionary says of the Phoenix:* Tabulous bird of Brilliant Plumage supposed to have lived in the Arabian desert in cycles of 500 years. (Authorities differ as to period of cycles). At the end of each cycle it burned itself

of this most balmy timew and Death to me subscribes

Since, spite of him I'll live in this poor rime, While he insults o*er dull and speechless tribes: And thou in this shalt find thy monument When tyrants crests and tombs of brass are spent. Bacon*s reputation has been destroyed—for ever, his enemies

believe. Yet, in spite of calamity and even death, his love, his reputation, will live as this poor rime. In all the works of Shake­speare there are no poor rimes—unless we except the queer, baffling poem known as The Phoenix and the Turtle with its jumble of obsolete mythological symbols. Can this be the allusion ? Yes, this must be the poor rime for it is rhyme without reason.

Before we began our probe let us test it for the usual signatures. To begin with, there are 67 lines—the simple cipher for Francis—

and the first and last letters of the word Threnos are B and F・ Yes, the signatures are there so we can safely proceed.

203

great in fame as she was, and so stand fix'd.9*

nation; he shall flourish and like a to all the plains about him,9*There is nothing of the brave music and the triumphant Shake-

RIDDLE OF THE PHOENIX AND THE TURTLEon a funeral pyre and rose again from its own ashes with renewed youth and beauty, A person of supreme excellence. A paragon ・'' At once one is reminded of the use Shakespeare made of the

Phoenix in Henry VIII. Let me recall Cramner^s prophecy at Eliza­beth Fs christening. The speech is essential to this investigation:

**In her days every man shall eat in safety under his vine, what he plants; and sing the merry songs of peace to all his neighbours. God shall be truly known; and those about her from her shall read the perfect ways of honour and by those, claim their great­ness, not by blood. Nor shall this peace sleep with her: but as when The Bird of Wonder dies, the maiden Phoenix, Her ashes new create another heir as great in reputation as herself. So shall she leave her blessedness to one (When heaven shall call her from this cloud of darkness), Who tfrom the sacred ashes of her honour shall star-like rise, asThere is surely no doubting the comparisons here. The Phoenix

is the Queen and her Heir is himself;—and from these sacred ashes shall he rise?—assuredly.

When that time comes:'*His honour and the greatness of his nume shall be and mark nexu

" ....... mountain cedar reach his branches

Moreover, the Phoenix this time no longer represents the Queen, but her successor—himself r, rather, one aspect of himself, for as he assures us he was four individual persons in one—the Philosopher, the Prince, the Poet, and the Teacher, See Sonnet XLV:

My life, being made of four, with two alone Sinks down to death, oppress*d with melancholy.

Let us assume, therefore, that the Phoenix is the Prince and the Turtle dove the Poet, and test this inference presently. The assumption at least clarified these lines:

"Single nature's double name ...(between whom was perfect understanding and love)

So they loved as love in twain Had the essence一but in one Two distincts— ivision none''

These words, the perfect allegory of Love which many Shake- speareans have so lewdly misconstrued, is clearly denoted in their mutual agony. What great tragedy at that time had overtaken the Phoenix and the Turtle dove, symbol of fidelity? Says the poem:

'*Love and constancy is dead Phoenix and the Turtle fled In a mutual flame from hence,'，

spearean ring in The Phoenix and the Turtle. Here the gloomy theme is lost in a maze of mystery and sorrow. Both the Phoenix and the faithful Turtle are dead.

We have only the subdued, melancholy notes of a funeral dirge.

204

Wings. The ceremony, the Requiem, is most strict and secret. One

except that he was Bacon's "stooge.'' The crest of Shaksper was a

any one man could aspire—to the Crown of England and to the Poet's laurels—to both of which he had an inalienable right, the one by right of birth, the other by a life of sacrifice from boyhood to age, for at

all this elaborate ceremonial! Let us take each verse in order and endeavour to unravel the mystery. It seems obvious that the specially named birds are symbolical masks for living persons, in which even the un-named ones, like "chaste wings" may be regarded as Shake- speare's friends. The Turtle of course signifies the turtle-dove» Bacon's poetic muse.

Verse I： The Herald perched on the Tree of Knowledge summons

gant claims ? Let it depicts.

The Herald bird is perched high above the desert on the Tree (of Knowledge) and calls his feathered friends to attend the last obsequies of the Phoenix and Turtle, these being the Troop of Chaste

sixteen had he not dedicated his life to the reformation and uplift of the whole world and had not his life fulfilled his vow ? Who will deny that the crown of poesy belonged to Shakespeare and to him alone ? His genius was never a gift tossed carelessly into the crowd by a capricious Nature. The Phoenix and the Turtle ''had the Essence ..・ division none,'' and was to voice Mother Nature*s divinity in which only the clumsy stupidity of one man defeated her intentions.

But, the reader will ask, can we qualify these apparently extrava- ' ~ " us look more closely into the allegorical episode

bird, so much interlocked with the Phoenix is denied entrance, the ^fiend, the shrieking harbinger1 but two others, unwelcome though they be, are admitted, namely the Eagle and the Crow. The organ murmurs its plaintive music; the priest stands at the altar and the Requiem begins.

For whom is this ceremony attended thus by a fantastic assemb­lage of birds ? For no other than the symbolical interment of the Phoenix and the Turtle, There must be some deep significance with

RIDDLE OF THE PHOENIX AND THE TURTLENote in passing that the singular is used for the verb, thus

linking the two as one, but, reverting to the flame, what was ‘‘the right'' in verse 9 that the Turtle saw flaming in the ''Phoenix' sight'' ? Can we see in this the collapse of the greatest hopes to which

the Troop of Chaste Wings, who may answer to members of the Rosi Crosse, the Masonic Guild Bacon established, who could be termed Shades of Verulam, The Herald is the Master Mason.

Verse 2: Robert Cecil answers to the Fiend, the shrieking Harbinger, who had from his boyhooddays poisoned the Queen *s mind against her own son, and especially at the period of this poem, the life enemy of Essex and himself.

Verse 3: The Eagle, "not without right''― f some sort—to be present represents Will Shaksper, known as the ''actor'' but no more,

Falcon, and the Eagle is one of the Falconidae genus. Here Bacon

RIDDLE OF THE PHOENIX AND THE TURTLE

thus ‘‘Love had reason, reason none/

of the Queen, Shaksper, induced to pose as the author,when there was an hue and cry for the author of Richard IIt by of the Queen, Shaksper, induced to pose as the author, was

—The Tanpest, Act v, i.Verses 7-13: There is nothing mundane in the love stressed in

the words of Prospero (''my hope is in the future"), as follows:',and, when I have requir'd

Some heavenly music, (which even now I do) To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound, I 'll drown- my book.''

(，)Iu 1597,tmand 〜. 、 . -. 一

hastened to Stratford,Eew j?!ace bought for him and ^1,000, ''and arrange*

Heralds College/* (Dodd: The Martyrdom of Francis Bacon^

205

has used poetic license in order to make the distinctive name fit into its numerical position^1)

Verse 4: Since this is an allegory of birds we must interpret the name of the swan. The defunctive music of the priest represents the death-divining swan. It probably is a reference to Sir Tobie Mathew, his close friend and confidant, his alter ego, who conducts the Requiem, ''the priest in surplice white".

Verse 5: The Crow relates to Queen Elizabeth herself, whose ''white stole of chastity" at her birth had now changed to the ' 'sable Gender,** the dark secret of Bacon's birth? Who but she could answer to the one who "with the breath thou giv*st and tak，st," by denying him the right he had to the Succession ? She had borne him and for this tragic Requiem although suffered to be present she must suffer penance in the future.

Verse 6: To the notes of the anthem the cortege moves solemly towards the ashes of the Phoenix and Turtle. Can "the Turtle and his Queen *1 be explained by Shakespeare and himself ? Assuredly, for as Bacon became the Phoenix bird, arising on the ashes of his Mother, so he becomes figuratively of feminine gender. This leads us to another aspect of great significance, to the same end, expressed in

these verses. Who will deny that the love of Prince, Teacher, and Poet, is of divine essence? The presence of the Teacher is subtly indicated in the line ''Neither two nor one was calledand this third Crown must be left: to future historians.

Francis Bacon had sacrificed all and for what ? No wonder he says:

''Reason, is itself confoundedSaw division grow together.**

For what was this incomprehensible sacrifice? For Love! For the love of every man whom he wished to elevate to great heights, and 4-V < <T 一1 1 fc C-” —me * '

the com]

ments made to enter the ranks of the gentry, Essex then being the Head of the

206

As

word ’’Thou,'' which refers specifically to the Crow. Here is the

The interpretation fits into the inner meanings of the poet's

20 3i 54 66 84 115 口 5 口 9

Cypher No.203i546684115115口 9

the Rosicrucians. The number of words is 20, and the Simple Cipher of R=i7, and C=3,=20. It will further be noted that in verse 5 the number 84 of words from its commencement falls on the emphatic

But if we recast these letters with FINIS reversed in order we obtain ''A K(ey) is in . What means F? The letter phonetically can

spaced as I have done it. It then means, ''Son of Elizabeth, Royal House of Tudor/* or, equally "Son of Elizabeth, Royal Heir to Throne," his whole story concealed in this one significant word.

THRENOS, be it noted, is printed in unusually large capitals doubtless to draw the eye of the cypherist. And there is further reason for it. In the numerical KAY Cypher—see Frank Woodward's invaluable work, Francis Bacons Cipher Signatures,—the name Francis Bacon counts to 282. So does THRENOS. Is this mere coincidence ?

Another point of interest. Alfred Dodd, in his well-known

RIDDLE OF THE PHOENIX AND THE TURTLEMay the reader regard all this as wild speculation—a form of

midsummer madness ? There is authority for almost all I have advanced in his Simple Numerical Cipher. Note that there are three unnecessaiy hyphens in the poem but which are inserted for a specific purpose, to give that slight elasticity needed by the decipherer. Not much for Bacon to employ for he was the Prince of encypherers. an illustration let me take the number of words from the beginning of the poem to the words "chaste wings/* which I suuggested meant

"Shakespeare's Sonnet Diary", reproduces on p. 247, in reduced facsimile, the last Sonnet of the 1609 Folio. Below it, in very large capitals like THRENOS, appears the conventionally ending word FINIS. Below this are two apparently unaccountable capital letters in similar large capitals spaced quite apart, the letters A and K-

numerical equation of each name:No. of Words Meaning "

R.C.CecilActor Sir Tobie Mathew ElizabethHeir Throne Prospero W. Shakespear

Verse1 ・ chaste wings2・ Fiend3. The Eagle4. Priest5. Thou Treble-dated Crow6. Phoenix

do.Turtle

words.There is another word in all this of great significance, the word

THRENOS, printed in capitals to the last five 3-line verses of his lament. Surely the word was unneeded since the whole poem is one great lamentation. Can it be that Prospero, the Magician, conjured this Greek word from the gods ? If we reverse the letters we obtain the letters SON. E・ R.H.T. meaningless until the significance is

Royal Hei:

RIDDLE OF THE PHOENIX AND THE TURTLE

constructed in their true order and meaning through the genius of Alfred Dodd. A new era opens to the adventurous spirit, yea, to those fearless few who despise the ridicule of the ignorant and brave all for truth and beauty.

207

signify PH, hence Phoenix. Is it taking too great liberty to suggest that it signifies that the key to the mystic sonnets lies in the Phoenix and the Turtle?

If the world can still believe that the Phoenix and the Turtle is a rhyme without reason it is because its cryptic meaning has been hidden from the worldlings. The verses which follow ''Threnos'' signify the end of the Requiem, the ashes of perfect love are laid to rest; the love that could bequeath no posterity unless the gentle breath of revelation rekindle their ashes.

But there remains one final aspect to be noted. Surely Bacon did not adopt the symbol of the Phoenix to represent himself without deliberate motive ? He realised, even in 1601, that his just claims to recognition both as the Heir to the Throne and, even more especially, as the great poet, were doomed to be concealed for a great period of years. There are many other such allusions in his secret works in cipher. Yet, in the creation of the Phoenix he prophesied or foresaw that the day would arrive when the truth must become one of world recognition, when like the Phoenix, he would again arise to teach the world and uplift them by his writings of which the Plays and Sonnets are only one aspect. Nearly 350 years have passed since he composed this poem and perhaps the Phoenix may arise on the ashes of his former greatness sooner than the figurative five hundred. Even to-day there is a great recrudescence of interest in the Plays, which are becoming quite a safe box-office investment.

I have called this Shakespeare s Secret Book yet it is but the faqade to the temple and the decipherer a workman who has taken the carven stones lying around him and refashioned them in their true order for the first time. Here, through the central doorway lies the great nave of his Plays and the Mantle of Prospero, whilst doors on either side lead to the aisles of his philosophy and scientific works, and also to the poignant, imperishable glory of his Sonnets, as re-

leaving the second standing as though in qualification of her remarks,

was

youth with him to the grave eleven years before. Etienne Jodelle

meat of his native language into a fit vehicle for the transmission of intellectual and moral truth superior to any hitherto promulgated— in fine literary works of universal appeal. To build a splendid edifice

and latest of the Pl^iade, in the now vanished church of the Grands- Augustins. Joachim du Bellay had taken some portion of Ronsard's youth with him to the grave eleven years before. Etienne Jodelle had died in 1575.・. Of the joyous inner band four now remain:

208

juggling; but I will try to clarify my position.In the first place, I do believe Francis Bacon .

the example of the P14iade to set about his prime task一the ennoble-

In the last (Summer) issue of Baconian a Mrs. the former article of Mr. Guitry on the above s“i

FRANCIS BACON AND THE PLEIADE By R. J. W. Gentry

.Myrl \bject in which she ques-

. . - ' 一 」PMr. Gentry gives valid arguments to prove, the correctness of his con^

case for the English Renaissance as having been conceived and executed by one man"! No, I am not a Hermetic Adept, or even an adept at literary

inspired by

and not, as it originally stood, in firm conjunction with one*s first piece. I don't believe she means any harm—it is simply the outcome of her critical joie d& vivre expressing itself line by line~~but it can hamper her manifest desire to get at the meaning behind one *s actual words. She deals thus unkindly with me, for example, on p. 140 of Baconiana (Summer), where she takes bits of my former article, interprets these in her own way, and thereby evolves a truism (or, rather, an apparent truism), then makes me say that ,*It would be more difficult to prove this than to substantiate the '

one should first obtain material of the highest possible quality and of the most durable substance. It happened that fortunately the time was ripe for reform, but such a situation does not of itself automatic­ally produce the refonner. I am not so sure as Mrs. Bristol that 4,a particular literary movement is of necessity the flower of its own age and no other, a proposition which has been demonstrated over and over again, and which has generally been accepted as true of all kinds of movements—social, political, economic, religious.**

Francis Bacon, when in France, moved in the very atmosphere of the great reformation of French literature. It is true, as D. B. Wyndham Lewis writes: "... The Pleiade was breaking up. La Peruse and Des Autels had died long since. On March 7,1577, Remy Belleau died at the age of fifty, and Ronsard journeyed to Paris to be one of the pall-bearers when they buried this graceful poet, youngest

Bristol criticised

Honed the influence oj the Pleiade on Francis Bacon« In this article Mr. Gentry gives valid arguments to prove, the correctness of his con^ Un lions, and places the facts before our readers. EDITOR

入？C RS. BRISTOL has the disconcerting controversial habit of / yl taking the discourse of her opponent (if I may use such a

工- 入 term in a ''cozy bickering'' among ourselves), slicing it up, making genial, enquiring interpolations between any two pieces, then

‘‘His encouragement of the younger poets and writers, such

a starveling plant, patwre plants et vergelte, to refresh and invigorate

FRANCIS BACON AND THE PLfilADE 209Ronsard, Antoine de Baif, Pontus de Tyard, now shaping his course to a distant bishopric and lost to his fellow-poets, and tough oldleathery Dorat, who, with De Tyard, was to survive them all/* (Ronsard)・ But the influence of Ronsard and his work was to go on: ''His encouragement of the younger poets and writers, such as Florent Chrestien, Du Perron, De Thou, Bertant, and Pierre de Loyer is sufficiently acknowledged in their letters and works.''

Mrs. BristoKs implication that this labour of the Pl^iade was rather like that of the mountain which brought forth a 'ridiculous mouse / is hardly defensible. Far from their having merely concerned themselves with the ''intricacies of a chanson, rondeau, or madrigal*9,

in all elegance and grace of words.'' (Wyndham Lewis).The manifesto published by Du Bellay in 1549—the Defense cl

Illicstraiion de la Langue Frangoyse—advocates worthy translation of the classical authors as one of the vital means of the development of French. "Let him who would enrich his language then compose himself to the imitation of the best Greek and Latin authors, and let him direct the point of his style to their greatest virtues as to a certain end." (Gladys M. Touquet"s trans.). He makes an emphatic state­ment, however, of the difficulty of true imitation of the inner excel­lences concealed in a good author. And he gives reasons for the inferiority at that time of his own literature: **. . . if our language be not so copious and rich as the Greek and Latin, that must not be imputed to it as a fault, as if of itself it could never be other than poor or sterile: but rather must one attribute it to the ignorance of our ancestors, who having (as someone says, speaking of the ancient Romans) in higher esteem well-doing than fair-speaking, and liking to leave posterity examples of virtue, rather than precepts, deprive themselves of the glory of their fine deeds, and us of the fruit of the imitation thereof: and by the same means have left us our language so poor and bare that it has need of the ornaments and (so to speak) the plumes of other persons. But who would say that Greek and Latin were always in the state of excellence wherein they were seen in the time of Homer and of Demosthenes, of Virgil and of Cicero?" He sounds a clarion call to encourage his fellow-writers to hold their own language in higher respect: . but I dare well affirm that ifthe learned men of our nation deigned to esteem it as much as the Romans did theirs, it could at times, and right quickly, put itself in the ranks of the most famous.w

Ronsard, also, toiled to establish a revivified and enlarged basis for French literature. His Abrigi de VArt Poelique Francois blazes the trail for those who can become similarly animated to transform their instrument of expression into something precise, subtle, resilient, deep, and extensive. "To what degree/* he says, ''the art of poetry might be comprehended by rule, or trained to become more creative

on

they strove—successfully—to * 'ennoble the French tongue, at present

it and make it -parfaict en loute dliga)ice et venusldde paroles, perfect

"To what degree," he says, ''the art of poetry

in itself rather than merely remain a vehicle for tradition, depends

paratives and superlatives, and such other embellishments as our

have always maintained, about the views which the people hold of

ipMiadism"; and that this ''system of poetics/,

210

how far human skill, experiment, and pains

you might be the first to realise what a satisfying vocation it is, using

working not only for his own times, is 3

summary account would be acceptable and of value to posterity, I would compile a more elaborate dissertation on our poetry, on the way it might be enriched, on its most essential parts, on whether it can be made to comply with Latin and Greek versification, or not, on how frequentative and inceptive verbs might be supplied, on com-

unhappy language is lacking in. It is unnecessary to worry you, as I I - ' " \ …your work: my firm principle being, that it is better to serve truth

FRANCIS BACON AND THE PLElADE■…一 .• \ ; can enable this to be.-

I wanted very much to give you some principles here, so that one day

my own case (I may claim to be tolerably well versed in it) for an example.''

That Ronsard*s own conception of his task was not a narrow one, and that he realised he was working not only for his own times, is evident from this passage: . if I could only be sure that thissummary account would be acceptable and of value to posterity, I would compile a more elaborate dissertation on our poetry, on the

much as space permits to my necessarily condensed assertions in Baconiana of the Spring, 1948. I do maintain that English literature was, tlirough the agency of Francis Bacon, beneficially affected by

' • • was something more than merely a- Bacon rs fundamental aim was to utilise letters

as an educative force of the first power, in order to effect a transforma­tion of the cultural and ethical life of England; but it was first essen­tial to fashion a literary instrument worthy of his purpose; and the Pleiade showed him the way.

It is safe to maintain that Baconrs main enterprise, in the face of Elizabeth's political and ecclesiastical organisation, was un­doubtedly ''environed by danger that called for caution and secrecy." He definitely stated his need for means to enable him to ''command more wits than a man's own.'' Why? Surely not for any personal advancement (which he never obtained, anyway, under Elizabeth), but for the almost superhuman undertaking he had set his hand to, the ''rare and unaccustomed project" of transfiguring the England as described by the author of The Arte of English Poesie, in 1589, into a country freed from the suppressiveness of absolutism and the

than the opinion of the people, who are unwilling to accept anything save what they see already before their eyes, believing (without any reason) that our ancestors must be wiser than we are, and that we must follow them entirely, without bringing into being anything new; so doing a great wrong to nature, which they consider to be barren these days, and destitute of fine spirits, having at the outset poured all her virtues upon the first men, keeping back nothing, in her economy, to bestow on those of her children (as a generous mother would) who were to be born into the world in after ages."

I would commend these two writings of Ronsard and Du Bellay, to Mrs. Bristol*s attention as being likely to convince her that the efforts of the Pleiade were by no means so trivial as she imagines.

As to the second main point she brings forward, I will add as

says, there is a lion in the path*, than that of Virgil, 'they find it possible, because they think it possible*, I shall be content that my labours be esteemed but as the better sort of wisdom."This remark would tend to show that Bacon was fully conscious

of the value of co-operative effort in enterprises especially of the magnitude of the one he had in hand.

A book written by a compatriot of Mrs. Bristol's, The Philosophy of the Plays ofShakspere (Delia Bacon), makes clear the revolutionary inner character of those Plays; and for Francis Bacon *s connexion with the Rosicrucians, I will refer her to W. F. C. Wigston's Bacon, Shakespeare, and the Rosicrucians. I am sorry that space allows only the mention of titles and brief excerpts in answer to Mrs. Bristolrs far from ''disagreeable" questions. It is to be hoped that the little information provided may, nevertheless, lead her to seek out what has been already said positively, and help her to gain a transfer from the "negative team." If the sole activity of the latter is to "sit on the fence" around the field of play, the position must become tedious, after a time!

FRANCIS BACON AND THE PLElADE 211 general intellectual torpor that suited the interests of the ruling caste. Is it inconceivable that Bacon, as the centre around which such a work was to revolve, would have to proceed with utmost wariness to institute and direct a society of kindred spirits to aid him? Consider this paragraph which concludes Bacon's address to the King, at the beginning of the Second Book of the De Augmentis: *

"Touching impossibility, I take it that all those things are held to be possible and pcrformable, which may be done by some persons, but not by every one; and which may be done by many together, though not by one alone; and which may be done in the succession of ages, though not in one man's life; and lastly, which may be done by public designation and expense, though not by private means and endeavour. Notwithstanding, if any man will take to himself rather the saying of Solomon, 'The slothful man

in the Quarto of the Play published in 1602 in Shaksper's lifetime ?

of the 46

also a theatrical proprietor, who founded Dulwich College, left his

Edgar was son and heir to the Earl of Gloucester so he might reasonably be expected when talking in dialect for the purpose of disguise to use

who helped or received money in connection with the production of212

wrote the plays we should naturally expect that he would use some of the local words. There is only one character in all the plays who speaks a rustic dialect and that character is Edgar in "King Lear".

Surrey, Sussex, Kent, Wiltshire, Hampshire, Lincolnshire and Leicestershire. How is it, therefore, that not a single one of the 46 words which can be shown to have been used exchcsively in Warwick­shire are to be found in the ^Shakespeare*1 Plays? If Will Shaksper

Arden. The Stratfordians say 1 'There you are, Arden was the name of part of Warwickshire—here is a direct reference to the county where Shaksper lived which proves that he wrote the plays.11

They can produce no evidence that there was any forest or even woodlands in the district known as Arden, where the land was either enclosed pasture or open field arable. They ignore or suppress the fact that the play of ''As you like it" is taken direct from Lodge*s novel Rosalynde where the forest scenes are laid in the Ardennes in Belgium, altered in the play to the English equivalent Arden.

(47) The Stratfordians say that the reference in ‘‘The Merry Wives of Windsor" to the "dozen white luces** on Justice Shallow's coat identifies this character with Sir Thomas Lucy of Charlecote Park near Stratford on Avon, whose coat of arms had three luces on it. If this is so, how do the Stratfordians account for the fact that this reference to the luces first appeared in the First Folio of the Plays published in 1623, seven years after Shaksper9s death and is not found in the Quarto of the Play published in 1602 in Shaksper's lifetime ?

(48) Many years ago, Mr. Appleton Morgan, the president of The Shakespeare Society of New York, gave a glossary of 518 words which he claimed as words used exclusively in Warwickshire.

The English Dialect Society's Dictionary shows that of those 518 so called pure Wanvickshire words only 46 were not current in

THE "SHAKESPEARE" QUIZor

100 Questions for the Stratfordians to Answer arranged by Edward D. Johnson

Part IIThe Hundred Questions posed by Mr, Johnson contain many with

which doubtless some Baconians are not conversant. The ^Shake­speare11 Quiz will be republished in pamphlet form and should prove of invaluable use to lecturers.—Editor.

(46) In ' 'As you like it" Rosalind and Celia fled to the Forest of

the Gloucestershire dialect, instead of which he uses the Kentish dialect.

(49) Edward Alleyn, who was not only an eminent actor but

memoirs which contain the names of all the notable actors and dratnaiisis in Shaksper"s time, as well as the name of every person

by cutting his rations or sizes. With the exception of the ''Shakes-

The Oxford Dictionary states that the use of the word ''Keep''

peculiar word ''Keep'' is found thirteen times in the ''Shakespeare'

punishment of a sizar (a poor student who received sizes or allowances) by cutting his rations or sizes. With the exception of the ' Shakes­peare * * plays the word sizes is not used by any other Elizabethan

written by an anonymous Cambridge author.

Cambridge University would use? In ''King Lear" Act 2, Scene 4, we read ' *To bandy hasty words, to scant my sizes''. The expression ''scanting of sizes" was used exclusively at Cambridge to denote the

for *'reside* * is peculiar to Cambridge University, and the use of this ———-t： ] < < TZ > > f ] 土 L：一 4. x； ：_*. 4.U C — 1.—— 一c ''

plays ・(53) In ''The Merry Wives of Windsor" is the character of a

French physician Dr. Caius. His character is indentical with that of Dr. Caius who founded Caius College Cambridge, both being over­

dramatist except by the author of the ''Return from Parnassus** written by an anonymous Cambridge author.

The Oxford Dictionary states the use of this word was peculiar to Cambridge.

(52) In "Hamlet" Act 2, Scene 1, we read—"Inquire me first what Danskers are in Paris; and how, and who, what means, and where they keep. * *

bearing, choleric and revengeful men. Dr. Caius in the play hated Welshmen as is shown by his quarrel with Sir Hugh Evans, a Welsh parson, and the real Dr. Caius hated Welshmen so much that he exclu­ded Welslimen from .the privileges of fellowship of Caius College. How did Will Shaksper who never went to Cambridge know anything about the character of Dr. Caius who had died before Shaksper was 9 years old, and why should he put this character in the play of ''The

THE「SHAKESPEARE" QUIZ 213all the plays at the Blackfriars, Fortune and other theatres. How is it that Alleyn in this list of actors and dramatists does not even once mention Shaksper ?

(50) Philip Henslowe, the theatrical manager who had erected the Rose Theatre on Bankside, Southwark, in 1592, was the greatest theatrical agent and producer of his day and kept a diary (which has been preserved) in which he sets down the sums that he paid to various authors for their work. How is it that the names of Shakespeare, Shaksper, Shaxspur or Shagsper do not appear anywhere in this diary. ?

In Henslowe *s diary we find the names of the following men who were all writers for Henslowe theatres

Chapman, Chettle, Day, Dekker, Drayton, Haughton, Heywood, Jonson, Marston, Middle ton, Munday, Porter, Rankins, Rowley, Wadeson, Webster and Wilson. Here we find mentioned practically all the dramatic writers of that day with any claim to distinction, with one exception only, that of Shaksper, who is never once ment- tioned in Henslowediary, which completely ignores his existence. *

(51) The Stratfordians refuse to admit that Will Shaksper was educated at Cambridge University. How therefore do they account for the fact that the following expressions appear in the ' 'Shakespeare'' plays, such expressions being those which only a man educated at

that he had known. In this list Shaksperls name is not mentioned.

ridicule, sneering at him and his poetical claims. ..

knowing that many of the plays were earlier than Shaksper^s theatrical

214 THE ''SHAKESPEARE" QUIZMeny Wives of Windsor''? There were no nevvspapers in those days

evidence that

why is there no record anywhere of the

wrote that Shaksper played the Ghost in his own Hamlet and that this was the top of his performance ?

(58) Will Shaksper*s residence in London extended over a period_____ . *Sir Walter Raleigh, Spenser, Bacon, Cecil,^Walsingham, Coke,

___ ___ __,_________________ . . w w 1

Laud, Pjmti, Hampden, Selden, Walton, Wooton and Donne. How is it that there is no evidence whatever that Will Shaksper was personally known to any of these men or to any others of less note

references to him as a man are made by Thomas Nashe, 1589; Robert Greene, 1592; John Manningham, 1601; two anonymous writers in 1605; Thomas Heywood, 1612, and Ben Jonson, 1616. Nashe calls Shaksper an idiot, Greene an upstart crow, Manningham makes him the hero of an amour, the anonymous writers only refer to his wealth, landed proprietorship and aspirations to a title, Heywood because two of Heywood's poems had been published as Shaksper's, and Jonson scoffs at him as a poet ape. Here we find that three of his literary fellows. Nashe, Greene and Jonson, who knew the man Will Shaksper well, treating him with contempt and his literary pretensions with ridicule, sneering at him and his poetical claims.

Ben Jonson in particular scoffed at Shaksper's pretensions, \yell knowing that many of the plays were earlier than Shaksper theatrical career and, moreover, that he was incapable of such productions.

Ben Jonson in his Discoveries (1637) gives a list of all the great men that he had known. In this list Shaksper1 s name is not mentioned.

, Why did Jonson omit his name if he thought that he was the author of the , 'Shakespeare “ plays ?

(56) Why are there only seven references to Will Shaksper the tnan, and why is there no word or hint anywhere that he possessed any literary ability whatsoever ?

(57) The Stratfordians say that Shaksper 3s earliest reputation was made as an actor. If so, why is there no record anywhere of the parts that he played with one exception, namely Rowe (in 1709) who wrote that Shaksper played the Ghost in his own Hamlet and that this was the top of his performance ?

(58) Will Shaksper*s residence in London extended over a period of more than twenty years. The men of letters, his contemporaries> were Sir Walter Raleigh, Spenser, Bacon» Cecil, Walsingham, Coke, Camden, Hooker, Drake, Hobbes, Inigo Jones, Herbert^of Cherbury,

is it that there is no evidence whatever that Will Shaksper was

and it is very doubtful if the peculiarities of Dr. Caius would have been known outside University circles, and there is no evidence that Shaksper had ever been to Cambridge or knew anyone there,

(54) On 1st March, 1595, a play entitled , <LaeliaM was performed by the undergraduates of Queen's College, Cambridge, The character of Laelia in this play and the character of Viola in * Shakespeare play 1 Twelfth Night" are absolutely identical, and <<Shakspeare>, must have either seen or read this play Laelia before writing * 'Twelfth Night''. How could Shaksper, who was never at Cambridge, manage to obtain a copy of this play Laelia and develop the character of Viola on exactly similar lines ?

(55) All references to Shaksper, direct and indirect, in contem­poraneous literature during the period 1592-1616 have been carefully collated and published ・ They number 127 classified as follows一those made to his works, 120; those made to him as a man, seven. The seven

made by Thomas Nashe, 1589; Robert _______ ~ “ • . 1

1605; Thomas Heywood, 1612, and Ben Jonson, 1616. Nashe calls Shaksper an idiot, Greene an upstart crow, Manningham makes him the hero of an amour, the anonymous writers only refer to his wealth, landed proprietorship and aspirations to a title, Heywood because two of Heywood's poems had been published as Shaksper怎，and Jonson

fellows. Nashe, Greene and Jonson, who knew the man Will Shaksper

(54) On 1st March, 1595, a play entitled * 'Laelia” was performed

of Laelia in this play and the character of Viola in * Shakespeare1 4 -XT • JL > > 1 _ A-V一 ”一一 一 1 JI < —''

must have either seen or read this play Laelia before writing

to Obtain a copy of this play Laelia and develop the character of

,or

had passed away ? Why did not

that the Stratfordians have suggested as a reason for this that he was suffering from paralysis at the time, in spite of the fact that his Will

could produce these signatures when suffering from paralysis, how is

he bequeathed nothing to Ben Jonson who, according to Sir Sidney Lee, was one of his closest friends?

(62) How is it, that when Shaksper died, Jonson never referred to his death, not mentioning his name for 7 years until the publication of ''The First Folio" in 1623?to his death, not mentioning his name for 7 years until the publication of ''The First Folio" in 1623?

(63) Why did Will Shaksper in his will leave no directions as 1 ...... - - ，.•

passed to his daughter Susanna as residuary legatee, why did she not

able, and Susanna, if she was anything like her father, would not be likely to give anything away. If Shaksper had parted with the manu­scripts in his lifetime, he must have had in his possession copies of his printed poems Venus and Adonis and The Rape of Lucrece and of The Sonnets. What became of them?

to the disposition of his plays or the manuscripts thereof ? If these passed to his daughter Susanna as residuary legatee, why did she not claim them as a portion of the residuary estate ? The plays were valu-

likely to give anything away. If Shaksper had parted with the1 … ：______:_ -printed poems Venus and Adonis and The Rape of Lucrece and of

It is clear that they were never in the possession of his daughter

(64) Susanna Hall and her husband had only one child—a daughter Elizabeth, born in 1608, (Shaksper by his will bequeathed to this granddaughter the greater part of his plate). Elizabeth Hall first married Thomas Nash, and afterwards John Barnard, who was subsequently knighted.

On her mother's, Susanna's, death, she became the owner of New Place and other property under Shaksper*s will.

(65) Why is there no record that Lady Barnard ever mentioned her grandfather, the great poet (?), or ever possessed any relics of

(66) When Will Shaksper died, why did none of his literary■, 工-J 4.1X.________1 “ AL-_______ x L一2.— < __________C-

THE "SHAKESPEARE" QUIZ 215among the statesmen, scholars, soldiers and artists of his day?

(59) Why is it that of Shaksper *s social life during his long resi­dence in London we have not even a tradition ?

(60) The three signatures to Shaksper's Will are so atrocious that the Stratfordians have suggested

states at the beginning that he was in perfect health. If Shaksper could produce these signatures when suffering from paralysis, how is it that he could not produce a really legible signature when in health as none has yet been discovered!

(61) Shaksper by his Will bequeathed a number of memorial rings and other mementos to his friends and associates, such as Sadler, Raynolds, Heminge, Burbage, and Conde 11. How is it that

(65) Why is there no record that Lady Barnard ever mentionedI - . 二 -_him or any books belonging to him ?一(二-- ------------- • * L \ -- .........friends attend the funeral of the great genius ''Shakespeare express their grief that the greatest poet that the world had ever seen had passed away ? Why did not one of the literary fraternity in London realize that when Will Shaksper died a great poet and dramat­ist had passed away—not one of them came to his funeral or sent their condolences to his family?

(68) Why did no one take the slightest notice of the death of the retired actor and tradesman of Stratford ? The world of letters seems to have been quite unconscious of any loss, for not a single

Susanna.(64) Susanna Hall and her husband had only

to this granddaughter the greater part of his plate). Elizabeth Hall

troops stationed at Stratford on Avon in 1642, called upon Shaksper^s

ground. In a published account of the catastrophe, why is reference

before Shaksper died.

she had not got any books or manuscripts or anything in her father s handwriting ?

(72) On 29th June, 1613, the Globe Theatre was burnt to the■ ~ ----- - ■ *

made to Richard Burbage, Henry Condell and others, but not a word is said about Shaksper ?

a few months-(73) George Sandys published his "Journey''

Sandys wrote ‘‘By the Pillar, standing in a vault within the castle, entered by the Nile, they peare "wrote ' 'They take the flow ,Pyramid'', which is practically the same thing.

from Antony and Cleopatra, Act 2, Scene 7. Antony

How therefore could Shaksper have quoted from Sandys' work as he had no time to read this work before he died ?

(74) Why did the late Dr. C. W. Ingleby, who in compilingI •， —— • “ 一 . ， “ • .’

through English literature from 1592 to 1693 to find every allusion,___ ___ , j

state that ''no pains of research, scrutiny or study could find the

of his day." He adds ''It is plain, for one thing, that the bard

:man in literature have been preserved with the sole exception of Shaksper.fact that Shaksper could not write ?

(76) In the First Folio of the ''Shakespeare Plays** there are

1 men.very minor poet compared with Shakes*

a single one to the death of Shaksper ?(70) The Historian William Camden published in 1610 a Book

entitled Brittannia in which there are several references to Stratford on Avon. Why is it that Camden does not mention Shaksper although the majority of the plays had been written prior to the year 161。？ Is it not clear that Camden saw no connection between Stratford on Avon and the writer of the plays ? .

(71) Wlien James Cooke, who was an Army surgeon attached to troops stationed at Stratford on Avon in 1642, called upon Shaksper*s daughter Mrs. Susanna Hall, he asked to be shown any manuscripts or books belonging to her husband or father. Why did she say that she had not got any books or manuscripts or anything in her father c handwriting ?

measure his increase .'''*Shakes- of the Nile by certain scales on the

Sandys wrote ''answerable to the increase of the river, is the■ #- «• -— cc ——入:— d a —丑— J： ' ' ' ' C L c 1 wcc —C ' '

''The higher Nilus swells/the more it promises1 * which is the sameplenty or scarcity of the year succeeding.1 * * 'Shakespeare<- - - ~ — -- - • - * ■ , ... •

thought expressed differently. The above quotations from ''Shakes-，，父re f—a 4-口 a c c c—本*>c — a

and Cleopatra was not published until 7 years after Shaksper's death.

his Shakespeare's Centurie of Praise spent two years in research through English literature from 1592 to 1693 to find every allusion, however slight it might be, to the poet Shakespeare and his works,

most trivial allusion to the bard or his works by any one of the great men of his day." He adds ''It is plain, for one thing, that the bard of our admiration was unknown to the men of that age.1 *

(75) The letters of every greatIs not this due to the

fact that Shaksper could not write ?

216 THE "SHAKESPEARE" QUIZnote of regret that a great poet had passed away has reached us from any source whatsoever.

(69) In the days of Elizabeth, it was customary to write elegies on the deaths of any well known

Ben Jonson was a 1 .peare''; why do we find over fifty alliisions to Jonson's death but not

(70) The Historian William Camden published in 1610 a Book

Avon. Why is it that Camden does not mention Shaksper although

was

r old and still at Stratford. How therefore can you say that Shaksper was the author of this play?

j Lord Leicester *s men before Spring of 1585. This was before

. washe able while still at Stratford to get it produced by Lord Leicester *s

20 years old and still at.w a

play called **Felix and Philomena'' was acted before the Queen. The plot of this play was taken from the Spanish. If Shaksper wrote this play whilst he was still at Stratford, how was he able to read Spanish ?

(83) ''Hamlet"

‘‘The Jew showne at the Bull, representing the greediness of worldy choosers and bloody minds of usurers'' was produced. Shaksper at that date was 15 years of age. The plot of this play was taken from, two Italian novels. How could he have learnt Italian at Stratford at this early age ?

(82) In 1584, when Shaksper .Stratford, the play ''The Two Gentlemen of Verona11 based on

THE "SHAKESPEARE" QUIZ 217over 634,000 words, each of which must have been written out by hand in the first instance. How is it that if Will Shaksper wrote the plays, there is not in existence a single one of those 634,000 words in his own handwriting ?

(77) Why does ''Shakespeare'' always take the aristocratic point of view and pour con tempt on the common people. He refers to them as the common herd—sweaty rabble, etc. Shaksper of Stratford came from the common people—why should he foul his own nest ?

(78) How do Stratfordians account for the fact that in the first Folio of the Plays published in 1623 there are nearly 10,000 lines absolutely unknown in any form before 1616, the year Shaksper died ?

Wlio was it who revised all the Plays for the First Folio and wrole all those additional lines in exactly the same style as the original matter ?

(79) Twenty^two years after the publication of the First Folio of the ''Shakespeare'' Plays in 1623—namely 1645—the French people apparently had not heard of Will Shaksper of Stratford-on- Avon as a playwright, because in that year Jean Blaen published his "Theatre du monde" in which, describing Stratford-on-Avon, he wrote:—

''The Avon passes against Stratford, a rather agreeable little trading place, but which owes all its glory to two of its nurslings: to wit, John de Stratford, Archbishop of Canterbury, who built a temple there, and Hugh de Clopton, who threw across the Avon, at great cost, a bridge of fourteen arches.

How is it that there is not a word in this book about the man on whom Stratford-on-Avon now depends for its sole claim to fame?

(80) In 1576 a play Historic of Error11 (probably the firstform of the * * Shakespeare*1 Play "The Comedy of Errors") was acted before Queen Elizabeth at Hampton Court. At this date Shaksper was 12 years '' " - * "

” (81) In 1579 ‘The Merchant of Venicer7 in its earlier title of

(83) "Hamlet" was played by Queen Elizabeth at Oxford in the Spi 〜 Shaksper left Stratford for London. If he wrote this play, how

Company of Actors ?

218

familiar with the

John Heminge, Richard Burbage and Henry Cordell of 26/6 each to

customary. Why should the only

after-thought ?

the grave, and by means of tradition, legal documents, records and

single item to connect Shaksper with

(87) If Shaksper wrote the Plays, why did lie apparently conceal

THE "SHAKESPEARE” QUIZ(84) In 1612, the performance of all stage plays at Stratford

was forbidden by the municipality under a penalty of £10, Shaksper was then permanently residing at Stratford. If he was the celebrated dramatist, why did he not protest at this action of his fellow towns­men ?

(85) The Boatswain in "The Tempest" speaks in the true vernacular of the Forecastle.

Salanio and Salarino in ‘‘The Merchant of Venice** use accurate sailor*s expressions.

*fThe Comedy of Errors'' is full of nautical allusions and sea words. There is no evidence that Shaksper ever went to sea. How could he realize the life and language of a sailor by force of his imagina­tion?

(86) Research has traced the life of Shaksper from the cradle to the grave, and by means of tradition, legal documents, records and inscriptions formed quite an accurate biography. How is it that this research does not record a single item to connect Shaksper with ''Shakespeare" the author of the Plays?

(87) If Shaksper wrote the Plays, why did lie apparently conceal this fact from his friends instead of being proud of his authorship ?

(88) If he did not conceal it, why did not his friends say some­thing about their friendship with the celebrated author ?

(89) Why did not the other authors and dramatists know of his existence and make some reference to the man Shaksper ?

(90) The Stratfordians say that Shaksper made sufficient money to buy New Place either through acting or writing plays. If he earned this money by acting, how is it that we have no record of the parts he played, which seems to show that he must have been a very inferior actor whose salary would therefore be small ?

(91) If he made money by writing plays, how is it that there is no record that any theatrical producer or any other person ever paid him a penny piece for writing a play?

(92) There is nothing whatever in Shaksper's Will to connect the testator with either plays or actors, except one erasure and one interlineation. The Christian name of Hamnet Sadler has been scratched out and someone has written above it Hamlett instead of HamweZ in order to suggest that the testator was name of the play. There is an interlineation of gifts ' *to my fellowcs John Heminge, Richard Burbage and Henry Cordell of 26/6 each to buy rings''. Neither of these alterations was initialled by the testator or the witnesses as was customary. Why should the only indications in the will that Shaksper had anything to do with the plays or actors have been apparently inserted as an after-thought ?

(93) When Shaksper died, he was one of the richest men in Stratford. Yet when his father, mother and son died, he never spent a penny in marking their resting places with a stone. Is this the man who in the Play ’’Cymbeline" is supposed to have written ''Sore shaming those rich left heirs that let their fathers lie without a monument'' ?

as a person of importance, nothing to show that he had any prominence when he lived, nothing to show that he was anything but utterly obscure and unimportant? not only in London where he lived for 15

Stratfordians to have alluded to Shaksper. Why therefore does he call Shaksper an upstart crow beautified in other feathers ?

(97) How is it that after Shaksper *s death plays continued to pour forth as if nothing had happened ? Not only a number of new plays which were unheard of before and the greatest of them all, but the old plays were considerably augmented, revised and virtually rewritten. Who was responsible for this?

(98) In the year 1777 a Mrs. Hornby as a private enterpriseopened at Stratford a museum of relics of Shaksper. She exhibited as Shaksper's personal belongings, a carved oak chest, part of a carved bedstead, an iron deed box, a sword, a lantern, pieces of the famous mulberry tree, one of Mrs. Shaksper's shoes and a drinking glass.In 1827 Mr. R. B. Wheler, The Stratfordian Historian and author of the Local Guide Book, denounced these relics without exception as being * Scandalous impositions, ,and stated that ''It is well knownthat there does not exist a single article that ever belonged to Shaks­per. '' Where now are these so-called relics ?

(99) It is possible to make a list of 1500 celebrated Englishmen and go to the Histories, Biographies and Encyclopaedias and find out the history of each one of them, with one exception only, namely Shaksper.

Is not the reason for this the fact that Shaksper had no history, with nothing whatever in his life worth recording—nothing to show that he was anything but possibily a third rate actor and a tradesman in a small town, nothing to show that any single person regarded him as a person of importance, nothing to show that he had any prominence when he lived, nothing to show that he was anything but utterly

years but in his own native town ?

THE "SHAKESPEARE" QUIZ 219(94) The author of '’Shakespeare" Plays seems to have hated

drunkenness because we read''To be now a sensible man, by and by a fool, and presently a

beast, 0 strange/* Othello, Act 2, Scene 3."0 monstrous beast, how like a swine he lies.''

The Taming of The Shrew, Act i, Scene 1.Are not these strange sentiments to be expressed by a man who

was himself a heavy drinker* ?(95) The ''Shakespeare'' Plays denounce in scathing terms

ignorance, as follows:4<0 thou monster ignorance, how deformed dost thou look!"

Love's Labour's Lost, Act 4, Scene 2.* ignorance is the curse of God—Knowledge the wing on which

we fly to heaven.1 , 2 Henry VI, Act 4, Scene 7.''0 gross and miserable ignorance". 2 Henry, Act 4, Scene 2.How do you account for the fact that Shaksper who is supposed

to have expressed those sentiments allowed his two daughters to be brought up in such a state of ignorance that they could not even sign their names ?

(96) Robert Greene in his ^Groatsworth of Wit'' is believed by

220

the ' 'Shakespeare''

having received permission from

(j) The First Folio was never published

where he is alleged to have been prosperous.

sence in London.

he had to sleep where he fell.

THE "SHAKESPEARE" QUIZ(ioo) The Stratfordians say that it was

sistent with what we know of the life of Will Shaksper, a man who led

generous action or noble deed, certainly not the life of the greatest genius the world has ever seen, as the following facts show.(a) Sliaksper entered into a bond to marry Anne Whateley of Temple

- —- -had seduced.

personally in London is of a low intrigue and a treacherous act towards his friend Burbage.

(g) The first local tradition is that he got so dnmk at Bidford that he had to sleep where he fell.

(h) It is traditionally recorded that his death was due to a drunken orgy.

Plays that brought Shaksper Fame and Fortune. How therefore do they account for the following facts ?(a) Shaksper in his will never mentions the manuscripts of the Plays*(b) His executors never mentioned them.(c) His two daughters never mentioned them .(d) The plays were never transferred to anyone either before or after

Shaksper's death. •(e) There is no record that Shaksper's relatives had anything to do

or say with reference to the publication of the Plays in the First Folio.

(f) The Publishers of "The First Folio * * had no legal authority to publish the plays, never ' Shaksper's executors.

(g) Neither Shaksper's executors nor his daughters ever took pro­ceedings against the publishers of The First Folio for infringe­ment of copywright.c:--------printed mysteriously disappeared and have never been traced.

(h) The manuscripts of the Plays from which the First Folio was printed mysteriously disappeared and have never been traced.

(i) The Printers of The First Folio did not copyright the work and so secure a title to it although its publication must have cost thousands of pounds and the sale of the Fisrt Folio could never have recouped them for the expense of publication.

(j) The First Folio was never published as a money maker as there was nothing to prevent anyone from re-publishing it.

The "Shakespeare" Plays show us that the author, whoever he was, was a great, noble and generous man, which is quite incon­sistent with what we know of the life of Will Shaksper, a man who led a mean, uneventful, sordid and immoral life, without any record of a

Grafton, but he was forced to marry Ann Hathaway whom he had seduced.

(b) He deserted his wife and never sent for her to join him in London where he is alleged to have been prosperous.

(c) When he returned to Stratford, he barred her dower and left her nothing in his will except his second best bedstead.

(d) Apparently he never corresponded with his wife during his ab­sence in London.

(e) When in London he led an immoral life and was supposed to have been the father of Sir William Davenport.

(f) The only contemporaneously recorded incident of Shaksper

(U)

(i)

(k)

(1)

(o) He attempted to obtain a Coat of Arms by a series of fraudulent

And this is supposed to be "Gentle Shakespeare/*of sentimental affection throughout the whole world.

- THE "SHAKESPEARE'' QUIZ 221He allowed his two daughters to be brought up in such a state of ignorance that they were unable to write their names > When in London, he tried to cheat the Government by avoiding payment of his rates, but after much trouble was found and forced to pay by legal proceedings.

ford and so deprive his neighbours of the immemorial right of free pasturage for their live stock, but the attempt failed.

statements which are on record in the Heralds*。伍ce.(p) He was a money-lender of the worst type, suing his neighbours

for money lent and sending them to jail if they did not pay.an object

Wlien he deserted his wife she was forced to borrow 40/- from her father's shepherd. He never repaid this although he was wealthy.In 1594 a severe fire did much damage to Stratford and the Town Council appealed for help to the county at large. There is no record that Shaksper contributed a penny piece to the fund being raised to help repair the houses damaged in this fire.

(m) During a famine at Stratford in 1598 he held on to his consider­able stock of com and malt for a rise in price.

(n) He made desperate efforts to enclose the common lands at Strat*

He was regarded by the

Bruno accepted the Copernican theory, and confirmed it by work--

DOGMA V. KNOWLEDGEBy R. L. Eagle

"Let who will labour and agonize for the sake of a new truth, or a newer- ‘ - -■ …. ■ - …， ■ .七

and coldly regard, if they cannot crush. the struggle and heart-break of the pioneers, and then will enter into the fruit of their labours, and complacently point in later years to the advance of thought in their time, which they have

and the populace, they will adhere.

of the devil which created visions of things for man's temptation.- —— '「 such an instrument. In 1616, Galileo was condemned by the College

upheld, a heresy. In 1642 he was martyred, and the priest who perused the manuscriots of this erreat philosopher, destroyed such as in his

embarrassing to the reputations of the established luminaries, or

authorship of Shakespeare have met with the most violent abuse. 一一 .._ . . .. .« . ,■ ・•・ .i i

aided by suppression of anti-Stratford argument in a large and^ influ­

suppressor of opinion, idea, belief, discovery and invention of which it did not approve mainly because nothing was allowed to conflict with its tenets and creed, and any advance of knowledge was regarded with suspicion. Nowadays a similar power over individual and collective thought and expression is held in some countries by dictatorships aided by secret police, and in others by various so- called ,,autho^ities,, in different-branches of learning. The latter atttempt to supress the publication of views which might prove embarrassing to the reputations of the established luminaries, or the financial interests involved. Those who challenge the Stratford authorship of Shakespeare have met with the most violent abuse. Having failed by that, the present policy is to ignore the challenge,

cntial ^section of the Press. To be a recognised r<autli6rity222

the manuscripts of this great philosopher, destroyed such as judgement were not fit to be known to the world.

Copernicus only escaped torture and death by dying a few hours after the publication of his book. He was then seventy years of age, and had waited thirty years before he dared make public his discovery that the sun was the centre of the universe. He was regarded by the authorities as that ' 'fool who wishes to reverse the entire science of astronomy.**

Bruno accepted the Copernican theory, and confirmed it by work­ing out its implications. But he had to flee from his monastery in f * ・ ' J 、 「staying for any length of time in one place, he was betrayed in Venice.fear of an accusation of heresy. After wandering far and wide, never

Kept in the dungeons of Rome for six years, he was tortured and burnt at the stake in 1600.

The Church has, as we all know, lost its power as dictator and

it did not approve mainly because nothing was allowed to conflict

individual and

and purer form of an old one, there will always be those who will stand aside

pioneers, and then will enter into the fruit of their labours, and complacently point in later years to the advance of thought in their time, which they have done nothing to advance, but to which when sanctioned by time and custom and the populace, they will adhere.**

Mary Chobnondcly.

TN 1608 the first telescope was constructed and was put to use by I Galileo, despite the Church's assertion that it was an instrument

—of the devil which created visions of things for man's temptation. The church banned it, and orthodox astronomy refused to look through such an instrument. In 1616, Galileo was condemned by the College of Cardinals who proclaimed the Copernican theory, which Galileo

his

recovering, had to continue his experi-

DOGMA v. KNOWLEDGE 223essential to have a university degree in order to impress, and it is a great advantage to be known as a professor, for the public does not understand that it is as possible for an "outsider” to learn as much, and more, because with him study is not confined within conventional limits.

If the Stratford position collapsed, so would the reputations of the ''men・of・letters'' past, present and future. There would be little faith afterwards in big names. The situation would be quite Gilbertian.

If we turn to the history of medical science, we shall find a parallel battle between new ideas and old teaching and prejudice. Lister's teacher had stated that surgery had reached finality, and that surgical and other wounds became septic because there were gases in the air. Lister had to struggle against medical tradition and prejudice for the use in operations of his newly discovered anti­septic, which was carbolic. They laughed at him, but from his antiseptics hundreds of thousands of lives have been saved in Britain alone and from them have evolved the asepsis of modern surgery. Dr. Semmelweis, in a Vienna hospital, had, simultaneously with Lister and quite independently of him, made the same discovery. He met with vicious persecution from the medical profession in Austria. He was dismissed from his post for advocating his new method; driven temporarily insane and, on ments in private.

Today, practically everybody accepts the idea of evolution. Darwin's The Origin of Species, was a challenge to the orthodox ideas which had prevailed and remained unquestioned until the publication of the book in the middle of the nineteenth century. The Church, being committed to the literal interpretation of the Bible,and the Bible stating clearly that mankind and all other types of animals and plants were created in six days about 6000 years ago, was shocked at this defiance of its very foundation and doctrines. As the Church had, in those days, a far larger following, and was a great influence on family life, the new thesis could not be ignored. If Darwin had been a university man, he would not have dared to question the idea of creation as stated in Genesis, for Oxford and Cambridge were completely dominated by the Church at the time of publication of the work. When the diehards of the old orthodoxy were confronted with the fossils of extinct animals in the rocks, they first asserted that they were the remains of species of animals which had been specially created on the fi仕h day! Finally, somebody suggested that God had embedded these fossils in the rocks to test the faidi of nineteenth century mankind, and orthodoxy accepted this view when it found itself embarrassed by the geological evidence. For thirty years Danvin had been laboriously and with infinite patience collecting facts of botany, zoology and geology to discover the truth about evolution. He had a vast and influencial majority against him, but the opposition broke down for want of a reasonable and scientific answer. Who would have believed that twenty three

of the circulation of the blood. They would not see that he had established

as a doctor, so unwilling were people to believe what seemed a fantastic idea.

It still needs some courage to admit a truth contrary to old and pre- y |

after a short while, greatly enhance its reputation throughout the

spends many devoted year; on the exercise and practice of his craft< ' ' ... .................................................................................................... ....................................................................................... 一 _ "

may not be dependent upon it for his living. *When, with a generous

224 DOGMA v. KNOWLEDGEyears later Darwin would have been buried in Westminster Abbey?1

We may, by the example of Danvin and other pioneers in thoughtand discovery, feel confident on the ultimate acceptance of Francis

We may, by the example of Danvin and other pioneers in thought

Bacon as the author who wrote under the name ^William Shakespeare" The prejudice Baconians encounter from those who should advance knowledge and not st迅e it, is a tribute to the reason and truth of their contention. Public opinion matters little for only a small minority

are content to be lead by the ‘‘big noises'' and by their newspapers 「.4- a ［、姓 c 口 m a wa -ma * L AL — - ■ . - - _£ 土 L —：_

fellow creatures at the bidding of Governments and Dictators."In spite of all the persecutions (fortunately the

by those who have endeavoured to advance learning, contrary to the

have the industry or ability to think for themselves. The majority

even to be slaughtered in wars and commit the crime of killing their fellow creatures at the bidding of Governments and Dictators.

In spite of all the persecutions (fortunately the more civilised countries have abolished physical torture) of the past 500 years suffered by those who have endeavoured to advance learning, contrary to the tenets of ''authority," truth has triumphed in the end, and will continue to do so.

Suppose that an authoritative statement came from Oxford or Cambridge to the effect that after an impartial consideration of the facts and the direct and circumstantial evidence, the conclusion had been reached that the Stratford man was not the William Shakespeare of the plays and poems. What would be the effect? Would the finding of such a committee of enquiry be disputed ? For a time I feel sure it would, especially by those committed in print to the orthodox view. But as we have seen by the opposition of the medical profession to tlie new ideas of anaesthetics and antiseptics, and of the Churches of Rome and England to scientific discoveries f 八 . 八. • . ......................

truth follows sooner or later. In these days of rapid communication

reviewers and critics. The . .''professed" rather than ^professionar1. I do not suggest for

fanatics, visionaries and extremists who persist* in writing balderdash(1) The College of Physicians in 1615 rejected Harvey's demonstration

of the circulation of the blood. They would not see that he had established physiology on a sound basis by his discovery which ruined his private practice

For a time I feel sure it would, especially by those committed in print to the orthodox view. But as we have seen by the opposition of the medical profession to tlie new ideas of anaesthetics and antiseptics, and of the Churches of Rome and England to scientific discoveries from Copernicus to Darwin, the universal admission of a published truth follows sooner or later. In these days of rapid communication of news and the ability of the masses to read and listen to news in their own homes, the sensations of today are the commonplace of tomorrow* It still needs some courage to admit a truth contrary to old and pre­vailing error. The university making this announcement would, after a short while, greatly enhance its reputation throughout the intellectual world.

The artist, or author, whatever the medium he is working in, spends many devoted years on the exercise and practice of his craft or subject in which he had made himself a specialist even though he may not be dependent upon it for his living. When, with a generous outpouring, he offers the result to his fellow human creatures, who is it that steps between him and those naive and innocent folk with whom he would communicate ? The so-called professional authorities,

proper adjective for these should be - “ - a

moment that their derision is not sometimes justified, foTthere are

unconventional

Unseen

how might I call you ?，

conceivable subject, and nothing was allowed to be published that

enough to retaliate. The censorious attitude of the authoritie caused professional 4 informersf to spring -

These 'decipherers,' as they were called, made it their trade to interpret names as disguises for great personages thereby libelled. No interpretation seems to have been too far-fetched to involve the writer in trouble. The phrase from Piers Penniless:—'I pray you, ' ■ was interpreted as a covert attack by Nasheupon one of themselves whose name happened to be Howe! Nicholas Breton did not exaggerate when he wrote:—

*Who doth not find it by experienceThat points and commas oftentimes misreadEndanger oft the harmless writer's head/

The punishments inflicted upon writers unable to prove their (continued on.age 232)

DOGMA v. KNOWLEDGE 225and, unfortunately, others who write on the same subject with care and verification of fact and evidence suffer in consequence.

Who appointed these judges ? From whom comes their authority ? Tlirough what sort of apprenticeship, if any? What years of devoted and self-sacrificing drudgery in the mastery of the special subject have they contributed? What is the value of their "judgement'' when such knowledge as they may possess is confined within prescribed boundaries beyond which they fear to explore and dare not express themseIves honestly ?

Yet they succeed in persuading publishers, editors and news­paper magnates that they have a rich quiver of learning, and can produce entertaining stuff when required, even though it is not illu­minating. Thus they hold power over what is miscalled "public opinionas if the public is, or ever was, capable of forming an opinion for itself.

In every branch of learning ridicule and abuse have been heaped upon the initiators and pioneers of thought or unconventional mediums of expression—scientists, historians, poets, musicians, painters, architects, &c.» have all suffered.

The dangers which threatened authors in "Merrie England* * were not so acute as on the Continent where the Inquisition still claimed its toll of victims. Mr. Harold Bayley has recorded these ghastly facts in his great work A New Light on the Renaissance published forty years ago. As to the conditions prevailing here, Mr. Bayley writes:

"James I proscribed Buchanan *s History, and everyone was ordered to bring his copy 'to be perusit and purgit of the offensive and extraordinare materis.' The function of Church and State seems to have been to pounce down at every possible opportunity, and the rare chance seems to have been for a writer to escape their grip. Unseen snares lay around, not only religion and politics, but almost every conceivable subject, and nothing was allowed to be published that could by any possibility injure the interests of anybody poweful enough to retaliate. The censorious attitude of the authoritie caused professional 4informers* to spring into existence. The malicious activity of this class was a constant menace to authors. The simplest expressions were construed as bearing sinister meanings. 'Let me but name bread；, complains Nashe xand they will interpret it to be the townj)f Breda in the Low Countreys/

interpret disguises for great personages thereby libelled.

finally established on

failure to reach the Moon in

the professor the subject of Shaksper and Shakespeare.

he must have been a horticulturist; and classical scholars assert226

i960, when the projectile containing :now, in 2075, the

neighbours in the Solar System is

BACON OR SHAKESPEARE—IT DOES MATTER By John Thurloe

The writer, Mr. John Thurloe, has adopted a futurist period to hold a conversation with a wide open-eyed visitor from Mars, whose attitude on whether the Stratford ian Shaksper or Bacon wrote the J__________ ___ 1 T*1 1 : 1 ： 一一 &. _________一： ___________ _ I T'Kzit-z*

only too many earth-bound persons who might benefit from the facts advanced in this article,—editor .

T NTERPLANETARY communication was finally established on a I safe and satisfactory basis by the year 2020, after the catastrophic

入 failure to reach the Moon in i960, when the projectile containing tv’。human beings disappeared into outer space: now, in 2075, the arrival of visitors from some of our 1 \ not a very rare occurrence. It was my good fortune to be appointed

professor, chiefly on account of my knowledge of the language in on「— — ' \ 'as most of my readers will know.

Rcigne of King Henry the Seventh, 629). Italics as in the text.

not a very rare occurrence. It was my good fortune to be appointea an official guide to a recently arrived and distinguished Martian

■ ： ■. ■ i usethe Planet Mars: the script is pictographic, and the speech phonetic,

The record which follows deals with a conversation I held with x " * on the subject of Shaksper and Shakespeare. The

Martians being unacquainted with our mundane prejudices provide virgin soil for the discussion of the vexed question of authorship." * * *

‘‘And none could hold the Booke so well to prompt and instruct this Stage-Playt as she could. Nevertheless it was not her meaning, nor no more was it the meaning of any of the better and sager sort that favoured this Enterprise

knowledge ?''A. ''Immense! So extensive, indeed, that there is hardly an art

or science which does not come under contribution,—so spec­ialised is his knowledge that a variety of professions and occupa­tions have been assigned to him by critics of his writings: lawyers claim him as one of themselves ； gardeners believe that

A. "Chiefly on account of his incomparable dramatic works which contain the quintessence of human wisdom expressed in the most majestic and inspired language: he also wrote Poems, Lyrics, and Sonnets.''

M. ‘‘Do these dramatic works and poems cover a large field of

and knew the Secret» that this disguised Idoll should possesse the Crowne.t,

Bacon *s The Hislorie oj thep・ 2i・(Edition〕

THE CONVERSATIONMartian : "Who is considered the greatest dramatic poet in World

Literature ?''Answer : ' 'William Shakespeare is generally said to be, not excepting

the ancient Classical writers of Greece and Rome."M. ‘‘How has he earned this reputation ?1 *

hold a conversation with a wide open-eyed visitor from Mars, whose

immortal Plays certainly indicates acute reasoning powers I There are < ' ’、一 〜• ―

227

studied minutely by experts in various

'Indeed! this is very extraordinary

to determine the exact nature of Shakespeare's t_____X___________ £____ *1.」U：- --------- , 4.

does not greatly matter

BACON OR SHAKESPEARE—IT DOES MATTERthat he must have been widely read in the Greek and Latin authors, and so on.''**He must have possessed an unusual brain for a mere Earthling (pardon me) and a very good education!''''We know nothing with certainty of his education, indeed, some critics have maintained (though their number grows less and less as the Plays are special subjects) that he was unlearned, and one went as far as to assert that he owed his knowledge to 'intuition'，''''Indeed! this is very extraordinary."‘‘It is: another critic even wrote:—

'''Although the information at present accessible does not enable us i ' .occupation from his fourteenth to his eighteenth year, that is to say from 1577 to 1582, there can be no hesitation in conclud­ing that, during that animated and receptive period of life, he was mercifully released from what, to a spirit like his, must have been the deletrious monotony of a school education. Whether he passed these years as a butcher or a wool-dealer does not greatly matter,2

''Was this the opinion of an educated man?''''Yes!''''Don't you set much value on education on Earth ? * *"Yes! of course, but the critics not being able to find any record of Shakespeare *s (or Shaksper *s) schooling are fain to account for the supreme quality of his works by assuming that genius can accomplish almost anything within human capacity, even with­out the advantages wliich education confers.**‘‘What is genius?""It has been variously defined, but it is generally conceded that it is a capacity that enables the possessor to do the work which his particular genius embraces» supremely well."* * Without any effort ? *1^Hardly! but with less effort than a normal man would have to expend in quite a commonplace achievement,― ven a genius must work and cultivate his powers.''"Oh! but is not a good education a necessary preliminary to any great literary work in your world ?"''I think so, in spite of the opinion I have just quoted.1 ,"Can genius supply knowledge of sciences and arts without effort ?**''Decidedly not.''**I suppose Shakespearers (or Shaksper怎)alleged lack of educa­tion must have aroused a considerable amount of speculation and doubt among educated persons ? *1 •''Yes! largely on account of the few facts which we know for certain about Shaksper of Stratford-on-Avon, and the free use lLeigh-Hunt. •MHaUiwell-FhilIips. ''・

M.A.虬

A.M

M

A.虬A.

M.A.

ma

MA

M A

A

Shakespearean biography, in fact, is the thief of verity!

have any record/*f,A poet?”•'Yes, though he called himself *a concealed poet'.''

''Strange 1—at least he must have possessed a large and valuable library ?''* There is no indication of this in his will/*"More strange 11 *"Yes, it has puzzled his biographers.**

his so-called biographers have allowed their imagination: Shakespearean biography, in fact, is the thief of verity!" **It is strange that his biographers cannot confine themselves to the truth.''''There are so few known facts about his life that there is a very strong temptation to speculate, so that the alleged history of his life becomes *of imagination all compact.* Some people have expressed doubts as to the capacity of Shaksper to write

''Did his progeny inherit any of his ability ?''"No,—his daughter was unable to write, and his family were quite undistinguished.1 f* 'Most strange 1 Are there any other alternative theories regard­ing the authorship of the Shakespeare Plays ?'' ^Yes! several. * *"What are these■，Various contemporaiy noblemen have been credited with writing the plays, but the oldest and most generally accepted alternative is that the real author was the great Francis Bacon, Viscount St. Alban.""Was he a very learned man?"**A philosopher, and one of the most erudite men of whom we L—〜.M. m V* 只 ，，

"A poet ?1 *

his life becomes *of imagination all compact.* Some people

the Plays, but these are in a minority, the vast bulk of even the educated public are cither apathetic, or they accept the opinions of orthodox scholars without question.""Indeed! Your public must be very credulous! On out planet a high degree of education and culture is considered necessary for the production of any great work of art."''Shaksper is considered by the orthodox to have been a remark­able, even a unique exception.0"He must have been, if he were indeed the writer of these plays which you have partly read to me in my own language: there are passages where he almost equals our own greatest dramatic poet, who flourished three thousand of your years ago: he has

_ * actor, must have taken great care of his

. ，_ Earth, though you have a crude

machine called a typewriter)—and made elaborate arrangements for their preservation and the protection of his family *s interest in them after his death?"'*On the contrary, his will does not mention his work.**

own greatest dramatic

never been surpassed since on our planet. I presume Shaksper, who you say was an s 一 v 'manuscripts (the autographic machine has not, you tell me, even yet been invented on 7 ' *

228 BACON OR SHAKESPEARE—IT DOES MATTER

•

•

•

•

•

•

•

・

・

・

・

am amama m Ama

♦

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ma ma

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229

A.advertently so, is undoubtedly Sir Sidney Lee's * A Life of

M. see,—a similar work was performed planet many

M.A.M.

. on our planet manyages since, and our scientific knowledge and advance dates

*4 Many/*一 - -- -

ject ?,rf,The most convincing anti-Shakespearean book, though in-

Shakespear^ : he did not intend to make it so, but no unprejudiced person can read it carefully without realising that it is built up

BACON OR SHAKESPEARE—IT DOES MATTER‘‘I suppose books have been written on the subject?*9、 ''Many.'':How should one begin to study this strange paradoxical sub-

M. f * Proceed please **A. * * Francis Bacon wrote, or partly wrote, for the whole design was

left incomplete, a work which he entitled the Instauraiio Magna, meaning The Great Restoration, which was intended to provide mankind with a great philosophic instrument for the advance* ment of the sciences: it was systematic and divided into six parts.*1

from then: but please continue/, A, "The six parts are as follows:—

叮he Advancemmi of Learning, Book I.

of sheer surmise.'，M. 4<How comes this aboutA. ‘‘A paraphrase of Bacon,s own words on the subject of what he

calls * degenerate learning* will explain what I mean—here it is:** *The orthodox biographers having little material of

verifiable record, do out of no great quantity of matter and with an infinite agitation of their imaginations spin out laborious webs of conjecture, with which their books are mostly filled: for the mind of the biographer, if it works upon an ample number of facts and evidence, works according to the supply, and is limited by it, but if it works with imagina­tion, as the spider weaves its web, then the process is endless, and the result is but cobwebs of learning, admirable for its ingenuity, but of no real substance or profit to the reader'L"

M・ see: but does it matter who wrote these works, so long as you have them to enjoy?**

A. ''I'm glad you have asked me that question as it will give me an opportunity of going more deeply into the matter.**

M. *4Please do so.**A. Those who support the view that Francis Bacon was the writer

of the Plays of Shakespeare hold the view that there is a missing part of his great and entire philosophic system, and that this part comprises the plays. It is generally recognised by students of Bacon's prose works, quite apart from the question of the authorship of these dramatic works, that such an hiatus exists: this being so, the identification of the real author is of very great importance, in view of Bacon*s declared object to promote the welfare of Humanity by means of his system/*

KT "TD—c只** "

23。

<,(2) The Interpretation of Nature, which reveals the method by

''(3) A Natural and Experimental History: this contains observed

* * (4) The Ladder of the Intellect. This division appears only by

from the general design, but, perhaps, ancillary to it, and

I.

remarkable, should be set as it were before the eyes.

BACON OR SHAKESPEARE—IT DOES MATTER **(i) The Divisions of the Sciences. This part is represented by

to those *Sons of the Morning' whom Bacon hoped would carry on the campaign which he had inaugurated.

De Augmentis Scientiarum and The Advancement of Learning, These books are a survey of the state of knowledge as they existed in Bacon's time.

means of which the human mind is to be directed in its work of renewing science. This part is supplied by the Novum Organumt The New Organ (or Organon). 〔

facts in nature and is the basis of the structure of Bacon's philosophy: it comprises, The History of the Winds, TheHistory of Life and Death, The History of Dense and and Sylva Sylvarum.— ........................... … afragment of a few pages called The Thread of the Labyrinth. This was found among Bacon's papers after his death.

** 1 It is endorsed 'Ad Filios9; presumably it is addressed

‘‘He intended that this 'Ladder of the Intellect should consist of types and examples of the manner in which the New Method worked in order that the mind might readily grasp the rungs of the Ascent and Descent, and thus become versed in its use.

* * Except for The Thread of the Labyrinth there is apparently nothing to fill this division in Bacon's acknowledged works-

,'(5) Anticipations of the New Philosophy , This was to be separate

* * Bacon in referring to the * Ladder of the Intellect describes them as * actual types and models, by which the entire process of the mind and the whole fabric and order of invention from the beginning to the end in certain subjects, and those various and remarkable, should be set as it were before the eyes.、''

M: **You are speaking of his *types and models'?f,A. Yes. This is a very striking passage and should be noted:

Bacon further implies that these * types and models* had been *Plan of The Gnat Instawation

M, ‘‘This interests me greatly as a philosopher, but how does it apply to the question of authoriship of the Shakespeare Plays, please?”

was to contain speculations of Bacon's own by the unassisted use of his understanding,一that is to say, not by the use of his New Method,

''Spedding, his biographer, thought that the following were to be included in this division: De Principiis, De Fluxu et Refluxu. Cogitationes de Natura Rerum, but this is by no means certain.

°(6) The New Philosophy, which was to be the work of future ages and the result of the New Method.* *

231

and bowing down the mind to the nature of things/7

capable of no small influence, both of discipline and corrup-

ideas expressed might easily have exposed him to charges of—c只，

egoism—'creative activity always involves sacrifice/,

to be the residuary legatees of his

virtue, to administer the medicine of philosophy and morality disguised and made palatable in dramatic form, to make it sweet and acceptable to the public, whom he wished to instruct.**

A. ''Exactly!''M. *4What was the reason which induced Bacon to suppress his

name as author of these plays and to assume a pseudonym?"A. Various reasons have been given, among others that to have

name as author of these plays and to assume a pseudonym?"

his name attached to stage-plays (even to hold the prompt book) might hinder his rising in his profession of the Law, and also that it might prevent his employment by his Sovereign in State affairs, if it were known that he was making money in this way; also, another reason has been suggested, namely, that he could

might hinder his rising in his profession of the Law, and also 一- • - - - - ,

affairs, if It were known that he was making money in this way; also, another reason has been suggested, namely, that he could speak his mind more freely under a pseudonym: many of the

** Every work of art suffers by the intrusion of an overweening egoism—'creative activity always involves sacrifice/,

* * Bacon destined Posterity (of whom he proclaimed himself the servant) to be the beneficiary of his philosophic labours; succeeding centuries were to be the residuary legatees of his altruism, of his work 'for the relief of the human estate/ part of &Plan of The Great Itistauraiion.^De Augmentis, Book 11. *Ibid.♦The Destiny of Man, Nicolas Berd year.

A. "But it may well be that there was a subtler reason." M. "What is that?"A.

sedition .r,M. 4 * Quite good reasons!"

BACON OR SHAKESPEARE—IT DOES MATTER already supplied by him, for he writes:

'''To examples of this kind,—being in fact nothing more than an application of the second part in detail and at large,— the fourth part of the work is devoted/5

He writes also: *Dramahc Poesy is History made visible*• A further quotation from his views on Narrative Poesy is significant： '''So that this Poesy conduces not only to delight but also to

magnanimity and morality. Whence it may be fairly thought to partake of a divine nature; because it raises the mind and carries it aloft, accommodating the shows of things to the desires of the mind, not (like reason and history), buckling and bowing down the mind to the nature of things/7

,'He further continues, but writing of Dramatic Poesy, and not Narrative Poesy \

'', Dramatic Poesy, which has the theatre for its world, would be of excellent use if well directed. For the stage is capable of no small influence, both of discipline and corrup­tion. Now of corruption in this kind we have enough; but the discipline has in our times been plainly neglected.8,

"And yet when this was published the Shakespeare Plays were in existence f*

M. "I see; his idea was to make the stage the stalking horse of virtue, to administer the medicine of philosophy and morality disguised and made palatable in dramatic form, to make it

232

Stratford-on-Avon, and thus leave the field free to Bacon.

thanks for your explanation—I must tell my fellows in Mars of

Renaissance crept up, and spread over the face of Europe.

BACON OR SHAKESPEARE—IT DOES MATTERwhich he had hidden under the nom de plume of William Shake­speare—a mere idol.

‘‘In order that these beneficiaries should not suspect that they were being instructed by a philosophic schoolmaster a pseudonym had, perforce, to be adopted: if Posterity had an inkling of the plan Bacon rightly judged that they would not * patiently receive (his) medecine/

"The creative artist understood that by self-abnegation his(his) medecine ?

C - J- ■ - - --- - •

Art, untrammelled by egoism, could flourish more abundantly in the serene atmosphere of Truth—selfish vanity would have stunted its growth and denied it success.

"It was from the vantage ground of truth that Bacon looked forward to the succeeding ages, and it was this consideration that prompted him to write in a draft of his will:

A. ''Posterity will eventually drive the whole gaggle cackling from Sarnm Plain (or wherever they bum the midnight oil) home to Stratford-on-Avon, and thus leave the field free to Bacon / ,

M. f<I understand your meaning, but not your references—many thanks for your explanation—I must tell my fellows in Mars of this strange thing. You will excuse me now as I have to get back to my own planet—thirty-six million miles is still a long journey even for us—but I must be off, the projectile is waiting!''

DOGMA v. KN OWLEDGE (contd. from page 225) f innocence were shameful in their severity. If suspects refused to confess, the order ran: *You shall by authority hereof put them to torture in Bridewell, and by the extremity thereof... .draw them to discover their knowledge/ The rack and 'the scavenger's daughter * were used for the torturing of Alexander Briant to exort confession about a secret printing press. [The dangers of authorship were so L , , 「 r u, _ , , .................................. - ?一一

to meet with the enquiry, 'who is likely to have any courage togreat, and the rewards of literature so remote, that it is not surprising to meet with the enquiry, 'who is likely to have any courage to study ? seeinge insteede of honour and preference dishonour and hindrance recompensed for a reward of learning.*]

The Advancement of Learning brought no honour to Bacon from his own countrymen. It was cashiered as an heretical and impertinent piece, and was placed on the Index Librorum Prohibitorum. Bishop Goodman said that he would have written some reply to it if he 'durst have printed it.' It is unnecessary to give a list of English writers who suffered from the baneful effects of Government repression as such a scroll would include the names of practically all our great writers until the concluding years of the seventeenth century.

But gradually, and almost imperceptibility, the Light of the

** 'For my name and memory I leave it to men's charitable speeches, and to foreign nations, and the next ages: and to­rn ine own countrymen after some time be past'・''

M. ** Just one more question before I leave/*A. "CertainlyM."What will be the fate of these critics who have so grossly misled

the public.''

your favour from me, and now I have lost many friends for your

into matters of envy without place, or without

not, because they think I

I thought I would tell you so much, that you may know that it

I dealt with her plainly; and said, rMadam, I see you withdraw

sake, I shall lose you too; you have put me like one of those that the

BACON AND ESSEXBy H. Kendra Baker

Part IVThis—the final part of ''Bacon and Essex** by the late Mr. H.

Kendra Baker一is concerned with the period in 1599-1600, when Essex underwent two trials, and the part played therein by Bacon, who was forced to accept a brief for the prosecution against the Earl. Mr. Baker makes most skilful use of Bacon's subsequent Apologia, dedicated to Charles Blount, Lord Mount joy, created Earl of Devon­shire. This document, little known, throws a flood of light upon Bacon's forced acceptance of briefs and gives the inside story of the true circumstances which everyone interested in this historical period should study with care. The series will be produced in a booklet shortly .一Editor .

TT was about this time that Essex was pleased to observe concerning 1 his offended monarch that ,*her mind was as crooked as her

carcase!** If so, one can to some extent, appreciate her reasons for * * growing more incensed towards him/*

Bacon in his Apologie addressed to the Earl of Devonshire in 1604 (formerly Mount joy) explains his own actions at this distressing period. He says:—4 * Then she remembering belike the continual

French men call infants perdus, that serve on foot before horsemen, so have you put me into matters of envy without place, or without strength; and I know at chess a pawn before the King is ever much plaied upon; a great many may love me not, because they think I have been against my lord of Essex; and you love me not, because you know I have been for him; yet will I never repent me, that I have dealt in simplicity of heart towards you both, without respect of cautions to myself; and therefore vivas vidensque geo. If I do break my neck, I shall do it in a manner as Master Dorrington did it, which walked on the battlements of the Church many days, and took a view and survey where he should fall: and so, Madam, said I, I am not so simple, but that I take a prospect of mine own overthrow, only I thought I would tell you so much, that you may know that it was faith, and not folly, that brought me into it, and so I will pray for you.' Upon which speeches of mine uttered with some passion, if is true her Majesty was exceedingly moved; and accumulated a number of kind and gracious words upon me, and willed me to rest upon this, gratia ntca sufficit, and a number of other sensible and tender words

233

and incessant, and confident speeches and courses that I had held on my lord"s side, became utterly alienated from me, and for the space of (at least) three months, which was between Michaelmas and New-Years-tide following, would not so much as look on me, but turned away from me with express and purposelike discounten­ance wheresoever she saw me; and at such time as I desired to speak with her about law-business, ever sent me forth very slight (slighting) refusals, insomuch as it is most true, that immediately after New- Year's tide I desired to speak with her, and being admitted to her

verbum quidcm.*1 (Never a word)—''Whereupon

in the former proceedings at York House~when his eloquence had done .

■/ * .

sort of defence, he was commanded by the Queen to take his part as junior Counsel for the prosecution , The command was most distaste-

234 BACON AND ESSEXand demonstrations, such as more could not be; but as touching my lord of Essex, ne verbum quidem,9* (Never a word)—''Whereupon 1 departed, resting then determined to meddle no more in the matter; as that, that I saw would overthrow me, and not be able to do him any good. And thus I made mine own peace with mine own con­fidence''('conscience?')—,4at that time; and this was the last time I saw her Majesty before the eighth of February, which was the day of my lord of Essex his misfortune/*

No one had ever had better reason for gratitude to a friend in need than Essex to Bacon for his unceasing labours on his behalf. In season, and perhaps sometimes out of season, he had pleaded with the Queen; and although at first his efforts did not meet with much success, "yet," as Hepworth Dixon records, "drop by drop the daily oil softened her heart. * * At length the Earl was enlarged; though as one to whom much was pardoned; one who should never again command armies, or even approach the Court. The kinsman was forgiven, the traitor remembered. Elizabeth would look upon that face no more.

Yes, he had been ' 'enlarged" as a result of Bacon's intercessions, and to what use did he put his enlargement ? Hepworth Dixon provides the answer.

1 'Being now armed, by Bacon*s eloquence, with fresh powers of evil, Essex, in the secrecy of his country house, renewed the plot." He then furnishes us at considerable length with particulars of his treasonable practices, culled from the subsequent confessions of his confederates, culminating in his mad attempt to raise the city against the Queen.

The history of this wicked venture is too well known to need recapitulation. Essex had shot his bolt and missed his mark; he stood before the world as a self-proclaimed traitor. He had by his own wickedness put himself outside ' 'the framework of the covenant*1 by which Elizabeth had pledged herself to his reparation only, and not his ruin.

This is how he repaid the Queen for her unparalleled forbearance; and Bacon for his unceasing efforts on his behalf! One may well venture to enquire whether, in such circumstances, Bacon was under any further obligation to my irresponsible lord of Essex ? Bacon could not have done more on his behalf; and yet so far from seeking to profit by all that had been done for him, and by the forbearance that had been shewn him, he rashly threw everything to the winds and put himself outside the pale of forgiveness*

Now we come to the closing scene of this tragedy, and it will be necessary to consider very carefully the part that Bacon was forced to take in it.

Just as eloquence had done so much to secure Essex* s * , enlargement1 *一so here in this most serious charge of high treason to which there was no

latest exploit, it was still possible that his outraged sovereign might be consent to show it of her charity.

BACON AND ESSEX 235ful to him, and apart from all else the very fact that Coke, Bacon's bitter rival and almost life-long enemy, as Attorney General, led for the prosecution, would be sufficient in itself to prove that, had not he been commanded by the Queen to take part, he would most certainly not have figured in any proceedings for which Coke was responsible as leader. From a forensic point of view there was not the faintest occasion for his services, and it must be perfectly obvious that nothing but the Queen's Command was responsible for his beingbriefed.

Hepworth Dixon says,4 * Bacon had not sought the employment ； ・.Called to his duty by an order of the Council, he could no more shirk it than Raleigh could have thrown up his commission at Charing Cross, or Nottingham have refused to act against Essex House/1

So when we read what Bacon writes to the Earl of Devonshire (in his Apologiej on this point we find his assertion fully corroborated by the facts. He writes:—''For that I performed at the bar in my public service, your lordship knoweth by the rules of duty, that I was to do it honestly, and without prevarication; but for any putting myself into it, I protested before God, I never moved either the Queen, or any person living, concerning my being used in the service, either of evidence or examination ； but it was merely laid upon me with the rest of my fellows.

The bare idea of Coke granting him the privilege of a brief in a cause celebre—ven if he had pleaded for it—is ludicrous to all who know the relations existing between them! But he goes on: ' 'And for the time which passed, I mean between the arraignment and my lord *s suffering, I well remember I was but once with the Queen, at what time, though I durst not deal directly for my lord as things then stood; yet generally I did both command her Majestyrs mercy, terming it to her as an excellent balm that did continually distill from her sovereign hands, and made an excellent odour in the senses of her people; and not only so, but I took hardihood to extenuate, not the fact, (for that I durst not) but the danger, telling her that if some base or cruel minded persons had entered into such an action, it might have caused much blood and combustion; but it appeared well, they were such as knew not how to play the malefactors, and some other words which I now omit."

So, even at this late hour, with the Queen so incensed against Essex that she would not hear his name so much as mentioned, we find Bacon doing his best to turn away her wrath, at the risk of her most severe displeasure. It must also be remembered that, knowing Elizabeth as he did, and the wonderful forbearance she had shown on so many occasions towards Essex, when his conduct had been apparently past forgiveness, Bacon may still have believed that what she had said about Essex reparation rather than his ruin might still hold good. Though Essex could scarcely expect mercy after his

236

sought by

of the Queen*s councillors, what reference had that fact to my Lord

drafting a letter in terms calculated to move the Queen to mercy—he=________ v ______ 1 一ji-- 一人 "

no J . —the Queen's eyes. He pointed out that though to defend oneself was

than upon any man in the world besides. But since you have stirred up this point, my lord, I dare warrant you this letter will not blush: for I did perform the part of an honest man, and even laboured to do

One can well Imagine the disgust with which such an exhibition

palpable lie—too obvious to deceive a child—he betrays the confi-

BACON AND ESSEXAnd so we come to the trial. ‘‘The evidence against the pris­

oners 「' says Hepworth Dixon, * *was overwhelming. Essex pretended that the gathering of armed men, the refusal to disperse on the Queen*s command, the imprisonment of the Lord Keeper and Lord Chief Justice, the rush into the city, the resistance offered to the royal troops, were but the incidents of a private quarrel.11 In the face of the facts and his fellow-conspirators1 confessions such a defence was

that the gathering of armed men, the refusal to disperse on the Queen*s

Justice, the rush into the city, the resistance offered to the royaltroops, were but the incidents of a private quarrel.t：__ _ .......... / ' " •absurd and made his case far worse than had he thrown himself upon the Queen's mercy. It had, however, to be met, and it was left to Bacon, who followed Yelverton and Coke, to dispose of the plea, which had been more or less sprung upon the Court. It was necessary in the interests of Justice to show that such a defence could not be justified. ''Bacon," says Dixon, ‘‘felt surprised at the Earl's assertion; yet he envenomed nothing; and, while condemning the offence, abstained from any needless condemnation of the offender.**

He realised at once that in this attempt to justify himself (where justification was possible) Essex did but aggravate his offence in

lawful, to rebel in one's self-defence was not lawful. He spoke, he said, ‘‘not to simple men, but to prudent, grave, and wise peers" who could form their own conclusions on the facts; and it was evident that the Earl had ' 'planted a pretence in his heart against the Govern­ment, and now, under colour of excuse, he layeth the cause upon his particular enemies." In giving it out that his life was sought by the Lord Cobham and Sir Walter Raleigh, he may have hoped to gain sympathy and support. ’’But,'' as Bacon said, ‘‘the imprisoning of the Queen*s councillors, what reference had that fact to my Lord Cobham, Sir Walter Raleigh, or the rest," and he concluded with these words. "Oh! my lord, strive with yourself, and strip off all excuses; the persons whom you aimed at, if you rightly understand it, are your best friends. All that you have said, or can say, in answer to these matters, are but shadows. It were your best course to confess and not to justify.0

Anyone who retained a spark of regard for Essex must have admitted the truth and sense of such an appeal. But not so Essex. He turned on Bacon, declaring that the latter once held a better opinion of him; had been a means of entreating the Queen for him;and had drafted a letter from him to her Majesty. Instead of showing gratitude to Bacon for all he had done for him― ven to the extent drafting a letter in terms calculated to move the Queen to mercy—he throws his good offices in his teeth—a dastardly act. ''My lord," said Bacon in reply, ''I spent more hours to make you a good subject f ‘up this point, my lord, I dare warrant you this letter will not blush:

you good, if it might have been, and to no other end.''c ..............「’ ’

of base ingratitude was received by the Lords. In order to bolster-upa 1..................................................................................... 一’ r

his sword against her Majesty/*1

throw himself upon the Queen*s mercy; and only making his

, Secretary charging him before he started, in open court, that as he was a gentleman, and tendered his reputation, he would not inform Sir William of the cause of this summons; and requiring him to tell the Queen, that, if she declined to send her kinsman to give evidence he (Cecil) had vowed to serve her no more as Councillor while he lived.

‘‘When Sir William came in, the whole Court was hushed. Lord Buckhurst put the question: *Did you, Sir William, ever hear Mr. Secretaiy say that the Infanta,s title to the Crown was better than

BACON AND ESSEX 237dence of the very man of whose disinterested labours on his behalf he had at one time been only too glad to avail himself! But their Lordships, disgusted as they were, were destined to be far more dis­gusted as the trial proceeded.

Let Hepworth Dixon continue: ' 'Essex excused the lie with which he rode into the city—that the crown was sold to the Spaniards—by asserting that Sir Robert Cecil told a Privy Councillor that no one in the world save the Infanta had a right to the English crown. Cecil, coming forward, and dropping on his knee, declared that this report was foul and false. Buckhurst told the Secretary he might treat such accusations from the prisoner with contempt; but Cecil would not be appeased by words. 'Name the Councillor, if you dare!* he cried to Essex, 'if you do not name him it must be believed a fiction.* Essex said Southampton knew it to be true. 'Then, my lord of Southamp­ton/ said Cecil, *1 adjure you, by the duty you owe to God, by the loyalty and allegiance you owe to your Sovereign, by all tokens of true Christianity, and by the ancient friendship and acquaintance once between us, that you name the Councillor If Southampton named him—Sir William Knollys, the Earl's uncle, the Queen*s kinsman, 'Let a messenger be sent to the Queen entreating her to command Sir William's attendance in Westminster Hair cried Cecil. Knevet, a gentleman of the Privy Chamber, was despatched, the

any other in the world ? I The answer crushed his miserable nephew to the earth: ‘I never heard him speak any words to that effect.' Sir William added: 'There was a seditious book written by one Dole­man, which very corruptly disputed the title of the succession, in­ferring it as lawful to the Infanta of Spain as any other; and Mr. Secretary and I being in talk about the book, he spoke to this effect: , Is it not strange impudence in that Doleman to give equal right in the succession to the Infanta of Spain as to any other ?' Hereupon was grounded the slander upon Mr. Secretary, whereof he is as clear as any man here present/* Essex mumbled an apology for the lie; but he maintained that his quarrel was a private one against Raleigh and Cecil, and that he had never entertained a thought of drawing his sword against her Majesty.

So here we see Essex rejecting the advice to confess his guilt and throw himself upon the Queen*s mercy; and only making his case blacker and blacker by false accusation and groundless assertions in his endeavours to substantiate a defence which was absurd on the face of it.

'Hepworth Dixon: Ths Personal History of Lord Bacon.

238

his duty to expose the fallacy of the defence; indeed so

suppliant to

from her Majesty's

himself into the shallow of his own conceit*,—meaning 'imagination

thereof to be a

In the light of these facts let speech.

‘‘My Lord," he said, ‘‘I have never yet seen, in any case, such favour shown to any prisoner; so many digressions, such delivering of evidence by fractions, and so silly (i.e. weak) a defence of such great and notorious treasons. Your Lordships may see how weakly

pretexts and his practices by alleging the

' It was not only the Lords who had to be satisfied as to the fri-

BACON AND ESSEXIt was the duty of the prosecution, nevertheless, to demonstrate

this before judgement could be delivered, lest it should be said that the defendant*s plea had not been duly considered. Yelverton and Coke having already "spoken to their briefs** in the matter; this part of the proceedings fell to Bacon. Let it be remembered that he was there not of his own seeking, but at the express command of the Queen. It was ", . 'obvious was it that to attempt to palliate it would have been to proclaim himself either a favourer or a fool. To have thrown up his brief—as some critics seem to suggest he should have done—would merely have been to emphasize such a view, while in no way what­ever assisting Essex, for doubtless Coke would have immediately taken his place and substituted for the temperate address actually delivered by Bacon a bitter and virulent attack, going far beyond the necessities of the case, inflaming the Lords against Essex, and kindling anew the Queen's wrath against him.

There was not from the very outset the slightest hope for Essex so far as the Lords were concerned; the only hope for him lay with the Queen, and despite all his rebuffs, Bacon may have yet enter­tained hopes of the fulfilment of her earlier promise.

一 us consider the terms of his

my Lord of Essex had shadowed his purpose, and how slenderly he hath answered the objections against him. But admit the case that the Earl's intent were, as he would have it, to go as a her Majesty, shall petitioners be armed and guarded ? Neither is it a mere point of law, as my Lord of Southampton would have it believed, that condemns them of treason, but it is apparent in commonsense; to consult, to execute, to run together in numbers, in doublets and hose, armed with weapons, what colour of excuse can be alleged for this ? And all this persisted in after being warned by messengers sent

■ ' , • own person. Will any man be so simple as totake this to be less than treason? But, my Lord, doubting that too much variety of matter may occasion forgetfulness.

**I will only trouble your Lordship's remembrance with this point, rightly comparing this rebellion of my Lord of Essex to the Duke of Guises, that came upon the barricadoes at Paris in his doublet and hose, attended upon but with eight gentlemen; but his confidence in the city was even such as my Lord's was; and when he had delivered himself into the shallow of his own conceit,,—meaning 'imagination" —''and could not accomplish what he expected, the King taking arms against him, he was glad to yield himself, thinking to colour his pretexts and his practices by alleging the occasion tkcrccf tc be 二 private quarrel.**

that already—but the general public, among whom

Queen who had spoilt him from his childhood's days, he had, time

her apron-strings as her ''Counsel Extraordinary1 *—with no emolu-

Essex's career is pathetic. Its pathos is well exemplified by one■- —— 一 • * i

of Essex was first in trouble; and that he and those that dealt for him

forgiveness—a forbearance and forgiveness considerably more suggestive, as G. B. Harrison1 says, of "the jealous love of a widow towards her only son." Notwithstanding, too, every effort on Bacon's part to ''make him a good subject/1 he had flouted his friendship— even to casting it in his teeth in open Court—but, like all spoilt children, he had reached the limit of forbearance; he had proved himself incorrigible and impossible.

Contrast his career with that of the patient and long-suffering- Bacon, receiving more kicks than half-pence from the Queen; never a helping-hand towards his advancement in his profession; kept at her apron-strings as her ''Counsel Extraordinary1 *—with no emolu­ments !—with every sort of unpleasant business forced on him upon which she was reluctant to consult the Law Officers; Bacon, whose

'The Life and Death of Robert Dajcreux, Earl of Essex, by G. B. Harrison .

BACON AND ESSEX 239clous nature of the plea—they were probably perfectly satisfied of that already—but the general public, among whom were many sympathisers with the Earl, whether from ignorance or affection had also to be satisfied as to his motives. That this is so, is shewn by the fact of the Queen's subsequent insistence on the publication of the memorable ' "Declaration concerning the treasons of the Earl of Essex" of which more will be said presently.

Baconfs task, therefore, was far more than merely to secure a conviction; it was to demonstrate to the profanum valgus that such conviction was just. It was for the Queen subsequently to temper justice with mercy, should she feel so disposed; for Bacon to gloss over the Earl's offences ''in friendships name'' would have been to abuse grossly his position and betray his duty to the Court and to the Crown.

11 After trial and condemnation,'' Dixon records, "when the Garter was plucked from his knee, and the George from his breast, the Earl's pride and courage gave way. He closed a turbulant and licen­tious life by confessing against his companions, still untried, more than the law officers of the Crown could have proved against them: and, despicable to relate, most of all against the two men who had been his closest associates—Blount and Cuffe. His Confessions in the face of death deprived these prisoners of the last faint hope of Grace, and they went with Meyrick and Danvers to the gallows or to the block.''

of Bacon's Apophthegms.: r<A great officer of Court, when my Lord二______ 二…：_____ ' ' r ' ............. L

would talk much of my Lord's friends and of his enemies; answered to one of them: '1 will tell you, I know but one friend and one enemy my Lord hath; and that one friend is the Queen, and that one enemy is himself'.''

Notwithstanding the outrageous behaviour of Essex towards the C -................................ ...........and again received from her tokens of unparalleled forbearance and forgiveness—a forbearance and forgiveness considerably

towards her only son." Notwithstanding, too, every effort on Bacon's

to casting it in his teeth in open Court—but, like all spoilt

having made this confession, entreated the Queen*s forgiveness; but barker Woodward, Tudor Problems.

Nottingham, who showed it to her husband in order to take his advice.—................. .......... £ ' . >

the message, but desired her to retain^the ring. Lady Nottingham,

240 BACON AND ESSEXconduct towards the Queen and his country had been irreproachable and faultless, an unpaid drudge; Essex, the ' 'naughty・boy" flaunting it as ''the favourite,*1 ''faring sumptuously every day," and throw­ing to the poor good-boy the crumbs that fell from the rich man's

Wlien Essex had been arrested, Raleigh had written to Cecil, ''Let the Queen hold Bothwell while she hath him; he will ever be the canker of her State and safety." An ''enlarged'' and forgiven Essex would have been even a greater ''canker'' to his personal enemies than to the State, and they feared the Queen's forbearance on any sign of contrition.

And now we come to the story—legend> if you will― f the ring. The story> if true, would seem to find such striking confirmation in Elizabeth*s subsequent behaviour; and, if legendary, is of sufficient general interest, to warrant its inclusion here. The account is that by Lady Elizabeth Spelman, the great-grandaughter of Sir Robert Cary, who attended upon Queen Elizabeth during her last days. She says:—

‘‘When the Countess of Nottingham was dying, she sent to en­treat the Queen to visit her, as she had something to revealbefore she could die in peace* On the Queen*s coming, Lady Nottingham told her that when the Earl of Essex was lying under sentence of death, he was desirous to ask Her Majesty's mercy in the manner she had prescribed during the height of his favour. Being doubtful of those

table! But Nemesis is not to be trifled with or tried too far. Essex was too self-satisfied to appreciate this: he tempted the f,infernal deity** (as Lempriere describes it) much too far, with the inevitable result.

For a long time Essex had really been past praying for, and yet before his outraged Queen, Bacon's prayers on his behalf had ''gone up like the incense and the lifting up of his hands as an evening sacrifice/* No human being could have done more for his ''friend'' than Francis had done for Robert—and yet we are told he "betrayed'' him I Wliat a travesty of the facts! What a distortion of history!

Essex was beheaded on the 25th February 1600-1. No one had dared so much as to breathe his name to the Queen. Apart from her own outraged feelings, she was, no doubt, kept at boiling point by Cecil, Nottingham, Raleigh, and Cobham 0 whose necks" as a writer puts it, * * would not have been safe had Essex been pardoned

desirous to ask Her Majesty's mercy in the

about him, and unwilling to trust any of them, he called a boy whom he saw passing beneath his window, and whose appearance pleased him, and engaged him to carry the ring, which he threw down to him, to the Lady Scrope, a sister of Lady Nottingham, and a friend of the Earl, who was also in attendance on the Queen, and to beg her to present it to Her Majesty. The boy, by mistake, took it to Lady Nottingham, who showed it to her husband in order to take his advice. The Earl forbade her to cany it to the Queen, or return any answer to

sustenance.''4

(1688) p. 92; Aubrey de Maurier, Memoirs (1688) and others.

Such is the story; is there anything to support it ? Parker Wood­ward in his Tudor Problems writes: "After his death, the Queen

she had taken against her guilty kinsman law had been respected and ' ■ f' ' ...............................................— J - >save Essex's life, her Majesty was earnest to spare his name. How could she bear to tell the enemies of her country and her faith that one of her own blood had been in clandestine correspondence with the Pope ? What she kept back at the trial she wished to keep back now.

late Earl of Essex/lLife and Letters, p.

* * 、 - de

BACON AND ESSEX 241Elizabeth, exclaiming, *God may forgive you, but I never can!' left the room in great emotion, and was so much agitated and distressed that she refused to go to bed, nor would she for a long time take any

:yle is too soft, the tone too lenient < *It is my Lordv of Essex / she cried, "on every page; you can't forget

your old respect for the traitor; strike it out; make it Essex, or the late Earl of Essex.' She printed the whole book anew. Yet, even

fact? Had she really been expecting that ring, . . , ， . _____ j

and according to her custom Elizabeth must now be ''white­washed."

We will let Dixon supply the Epilogue: **When law and justice were appeased, the Queen commanded Bacon to draw up for publica­tion a brief and simple narrative of these events . . On such narra­tions it had been her habit since Bacon's appointment as her Learned Counsel to employ his pen •・ When, therefore, the partisans of Rome began to calumniate English justice, the Queen, sending for him to the Palace, commanded him, on hints and materials furnished by herself and by members of her Privy Council, to draft such a State Paper as should satisfy the world that, in all the proceedings which she had taken against her guilty kinsman law had been respected and justice done. The task required a tender hand. Though unable to

complained that times had altered with her, and she had now no one to trust. She lost her taste for dress, became thin and worn, was pleased with nothing, stamped and swore. Her delight, writes one of the courtiers, is to sit in the dark and sometimes with shedding of tears to bewail Essex. On March 24, 1602-3 she died.''

Now, what are we to say about this "legend?” Is it a legend at all or is it a fact? Had she really been expecting that ring, and, was Bacon privy to that expectation? Essex was no more

The dealings with the Earl of Tyrone the conferences in London— the attempt on Raleigh—the imprisonment of her Ministers of State— the rising in the streets—the attempt to obtain control of the Tower— were enough to justify the sentence and execution. Bacon took her materials, and wove them into a tale so much more generous to the dead Earl than just to the living Queen, that the Declaration sounded to her ears like an explanation, almost an excuse, for the plot. It must be mended. Pen in hand, she weighed and slashed at Baconfs words; her Privy Council did the same, until the story acquired a new form and a new sense. She bade him write out the whole afresh. When the Declaration so changed, was put into type, she again sent for him. The style is f .Essex, my Lord of Essex/ she cried, 'on every page; you can*t forget

She printed the whole book anew. Yet, 180. See also Francis Osborne: Historical Metnoirs

This from a writer as J. M. Robertson should serve to show that no special pleading is needed to justify Bacon, where the mere questionof duty is concerned. But apart from all such academic questions, we can only say that we should account ourselves as singularly blessed in possessing in time of trouble—whether due to misfortune or our own folly—a friend one half so faithful, so forgiving and so forceful; so self-effacing and so disinterested, as Francis Bacon proved himself

from the Queen a hundred times the benefits he had bestowed on Bacon, and was thus, on the principles assumed, guilty past all apology, not only in his act of insane sedition but in his previous

find that I shall deserve, the contrary.'1In conclusion, and lest what has been written might be regarded

by some as but an attempt at * *special-pieading'1 on Baconfs behalf,

only say that we should account ourselves as singularly blessed in* .......................................... * * i

folly—a friend one half so faithful, so forgiving and so forceful; so

to be in his devotion to the companion of his boyhood and youth—Robert Devereux, Earl of Essex.

coinplots, the attack is seen to break down. Bacon, who held the normal view of his duty to the head of the State, acted on principles of public fealty which then as now were as clearly of plenary force as his obligation to Essex was limited. And his action in the prosecu­tion was that of a man concerned to save an offender who, unwise to the verge of madness, would not let himself be saved."

it may be well to set out what has been said on this question by a modem writer who from his own writings certainly cannot be charged with ''favouritism'' in regard to Bacon一J. M. Robertson.

In his introduction to the Reprint (1905) of Ellis and Speddings, Philosophical Works of Francis Bacon, as edited by him, he writes concerning Bacon's treatment of Essex as follows:—* ,The argument is that because Essex, for great services rendered to him by Bacon, had given him a fairly adequate reward, Bacon's duty, when Essex had not only long ceased to take his counsel but had grossly contra­vened it, was to refuse to take any action against him as a crown lawyer. V^hen it is remembered that Essex, on his part, had received

242 BACON AND ESSEXwhen it was made thus sternly true and just by the Queen, the Dec­laration of the Practices and Treasons attempted and committed by Robert late Earl of Essex and his complices t was perhaps the most gentle and moderate State Paper ever published in any Kingdom. It was conceived in sorrow, not in anger. The facts which no im­partial judge could have pardoned were suppressed; and the whole Declaration was so mercifully worded, that it saved the memory of Essex from public execration, if it could not save him from public contempt, while it left the future open to his misguided followers and to his innocent son/1

Well might Francis Bacon conclude his Epistle to the Earl of Devonshire, after setting out, ''as he hoped to have any part in God's favour/1 the truth concerning Essex, with these words:—

-<T?o conclude therefore, I humbly pray your lordship to pardon me for troubling you with this long narration; and that you will vouchsafe to hold me in good opinion, till you know I have deserved, or find that I shall deserve, the contrary.'1

Latest Baconian Publications

Orders for the above Books should be sent to—The Assistant Secretary,

THE FRANCIS BACON SOCIETY,50a Old Brompton Road, London, S.W.7.

(Open from io a«m. to 5 p.m.)

HIS ERRING PILGRIMAGE by M・ SENNETTMiss Sennet interprets Shakespeare's As You Like It as a disguised Morality Play showing Man *s return to Paradise which he had sacri­ficed previously. Oliver's Pilgrimage is shown as a spiritual journey in which the esoteric significance of this little understood play is delightfully revealed. Price 6s. (Post 6s. 3d.)

MANES VERULAMIANI. Ready ShortlyThe Francis Bacon Society beg to announce an Edition de Luxe of Manes Verulamiani (The Shades of Verulam) limited to 400 copies only, each separately* numbered, the original in photostat facsimile of the rare original in the British Museum, and printed by the Chiswick Press, noted

for high-class production.The Manes consists of 32 Elegies in Latin verse, published a few weeks after the demise of Francis Bacon, by his admirers, who eulogised him as a genius, a poet, and man of letters.Edited by Mr. W・ G. C. Gundry (of the Middle Temple), who has written an Introduction and a short explanatory biography leading to this Memorabilia. The translation of the original Latin and notes are by the late Rev. Father William Sutton, S.J. Mr. Roderick L. Eagle contributes notes on the writers of the Memoriae.

Limited Edition. Orders should be placed without delay Price 42s.

INSTRUCTIVE BOOKLETS by EDWARD D・ JOHNSON The Shaksper Illusion

This comprehensive booklet with coloured cover and a few illustrations is one of the most thorough exposures of Strat­ford ian claims. A few copies still in stock. Price 2s. 6d.

Francis Bacon verswj

Lord MacaulayThe author effectively analyses the libellous assertions of Macaulay in his notorious Essay. A valuable record of the facts which every student should master. Price la.

CORRESPONDENCE

as

don ・ He gave it on <Memorial Library.

scholarships to by styled * 'Francis Bacon Scholarships.** The generous donor

244

THE JANSSEN PORTRAIT OF BACONTo the Editor of BaconianaSir,

The portrait of Bacon illustrated in Spring 1949 ''Baconiana'' is cither ~ ...... a *s copied from it.

,and among the eminent persons

some day it shall form part of a national memorial to the great poet, philosopher and statesman. * *

Unfortunately the account does not state where the sale was held, but it was presumably at the mansion of the deceased. No reproduction was issued in 4 'Baconiana .''

Presumably also this is the portrait purchased for £72 at Spixworth Hall near Norwich on 22nd March, 1912.

In the souvenir of the Bacon Society*s Annual Dinner in January 1913, the picture was reproduced. I seem to remember that the picture itself was on view..

In the reproduction the crown of the hat, far from being rather higher than usual, has been obliterated, and the photograph shows that the varnish has cracked or warped rather badly.

To add to the mystery, B.&・ Theobald in ''Francis Bacon, Concealed and revealed** also reproduced the Janssen showing it as identical with the reproduction in 1913, but over it there are the same words with the two mistakes as are to be found on the frame of the picture in the possession of Ella M. Horsey, v认；

"Sir Francis Bacon, Baron Verulam and Viscount St. Albans.',The ''Sir'' is superfluous and erroneous before the title of a Baron and Vis­

count, and **Albans** should be ''Alban."As a matter of fact, Bacon was not created Viscount St. Alban until 26th

January, 1621, or two and a half years after his portrait was painted by Janssen. Did Mr. Theobald have the same frame before him as V ■ .1949 ' 'Baconiana If not, how did it come about that the identical wording

the Janssen original slightly tocuhed up, or isCornelius Janssen came to England in 1618, .

he painted was Francis Bacon at the age of 58. The original was lost until 1912 when an auction was held of tlie pictures &c. which had belonged to a descendant of Bacon*s half-brother, Nicholas. There is a reference in 'Bacons ana', April 1912, to the discovery in Norfolk of this picture and, so far as I can ascertain, it was purchased on behalf o£ the Secretary of the Bacon Society at that time, the late Mr. W・ T. Smedley.

Its size is 30 in. X 20 in, It is stated that ''the head is covered with the well-known black hat. the crown of which appears to be rather higher than it is found to be in the engravings. The hair is dark brown, with an auburn tint. The beard and moustache are of a light flaxen brown, almost yellow. The picture was secured at the sale by an ardent Baconian, and it is intended that

and statesman.' *

that depicted in Spring

was used. Mr. Theobald was too well informed to make such a mistake had he composed this heading, and the only explanation can be that he copied it without consideration.

Mrs. Horsey's picture is so fresh in comparison with the original Janssen, it appeared in 1912, that one can only suggest fairly recent restoration, or

that it is a copy. If it is a copy where is the original now ?It was Mr. Smedley's intention, as explained in ''The Timesw of 10th May,

1921, to bequeath his unique collection of books (many of them annotated by Francis Bacon) to the Institute of Historical Research at the University of Lon­don. He gave it on condition that it was to be known as ‘‘The Francis Bacon Memorial Library. *r Moreover a sum of £1000 per annum was to be allotted to provide for the salary of the Librarian, and £25。and £15。per annum for two scholarships to by styled * 'Francis Bacon Scholarships.** The generous donor set it down that ' 'My name shall not in any way be associated or made public in connection with the gift/*

eloquent pleading of the Maid overcomes all resistance on the part of the

unknown also in France, for it remained in manuscript

books quoted to refer to. It will be noted that

been dated July 17th, 1429 and not

the series of negotiations that finally resulted in the treaty of peace in 1435,

a spoken address in the open field as better suited to stage effects. Even

To the Editor of Baconiana Sir,

Yours faithfully, W. G. C. Gundry.

-correspondent has not the passage in question occurs

Yours faithfully,R・ L. Eagle.

Editorial in the last issue of Baconiana you ask 〜 Jon of a letter addressed to the Duke of

Burgundy by Joan of Arc, here is the reference from Enter Francis Bacont by

JOAN OF ARCS LETTER TO THE DUKE OF BURGUNDY. To the Editor of Baconiana.Sir,

At the conclusion of your Editorial for information regard ing the transcript 1 P__ . *Bertram G. Theobald, B.A., p. §6.:—

1 ,]tTr r> 1 : J .,4. ---------

VI.・ In Act III, Scene iiii,

〔424 〜 _… , It may be added that we know Bacon visted

France; no one hasT claimed this for Shaksper.

CORRESPONDENCEDid these worthy plans mature ? If so, the Janssen portrait

among the gifts. Perhaps some reader of ' 'Baconiana ** i® a f us about this Library and the portrait.

atSothcby*s (among them the present writer's copy of LambardcTs Archiaonomia

Library, Washington, and in which the **scventh signature** of Shakespere

October 1943). *w -- -- ------- — …

with the

FROM CROW TO KITEThanks Kite for your kind appreciation of my wmastery of English,',

Though the **prima facie suspicion** that I ''must have been educated in this Island of Britain" is unjustified. Of good old Dutch, rather Frisian stock,

9Francis Bacon Our Shakespeare: London, Gay and Bird, 1902, pp. 31-35.

"Mr. Edwin Reed points out a very remarkable fact with regard to I Henry VI.• In Act III, Scene iiii, occurs an extraordinary interview in the open field between Joan of Arc and the Duke of Burgundy in which the eloquent pleading of the Maid overcomes all resistance on the part of the Duke. Historically, no such interview ever took place. But did the dramatist invent the whole episode ?

By no means, says Mr. Reed, and he tells us that 'in 1780, according to the well known historian of the House of Burgundy, M. Brugiere de Barante, some one in France for the first time put in print a letter dated July 17th, 1429, addressed to the then reigning duke, and written by Joan of Arc. It containcs a passionate appeal to the duke to take precisely the same course which is urged upon him in the play.'

''Mr. Reed continues: 'It is safe to say the existence of this letter was unknown in England in the time of Shakespeare, Neither Hall, nor Hol inshed, nor any other chronicler mentions it. It appears to have been.

of Three Hundred and fifty years「 * .............................. •. . . ―as represented in the play. The dramatist simply changed its form, preferring

for this he had an historical basis '''I give the quotation at some length in case your

books quoted to refer to. It will be noted that the 1 .in Part I Henry VI, and not Part II, and also that the letter is stated to have- been dated July 17th, 1429 and not 1424 as given in the inquiry. J hope these references will help your inquirer ?- 一

245/ . — . . was probably

among the gifts. Perhaps some reader of ' 'Baconiana * * is in a position to tell us about this Library and tlie portrait.

In 1938, the executors of the late Mr. Smedley sold the less valuable books atSothcby*s (among them the present writer's copy of LambardcTs Archiaonomia (1568) which had long since been lent to Mr. Smedley). This went to the Folger Library, Washington, and in which the **scventh signature** of Shakespere was ''discovered''. It proved, however, to be a clumsy forgery (see ''Baconiana'' October 1943).

We are not concerned with the remainders of Mr. Smedley's library, but :二：:.c unique and irreplacablc books which he possessed. It wouId be a

tragedy if they have been dispersed and have fallen into the hands of those whounique and irreplacablc books which he possessed.

neither care about, not can appreciate, their value, apart from the financial one.

to the well known historian of the House of Burgundy, M. Brugiere de 〜 .some one in France for the first time put in 'July 17th, 1429, addressed to the then reigning duke,； of Arc. It containcs a passionate r same course which is urged upon hii

unknown in England in the time of Shakespeare, Neither Hall,

. for a period And yet this identical letter opened

CORRESPONDENCE

With apologie!

・ A. Crow.

Kit(e)

London, S.W.

meant to, write it down to my f'mastery of English/,Yours faithfully,

To the Editor of Baconiana Sir,

246whose pedigree runs back to the 16 th century, bom at The Hague 1883, educated

To the Editor of Baconiana Sir,

It would be interesting to have a photographic reproduction of this note- .4. 4k.44 :A 1：_A________ x_i 3_______ I xl_. 1 T5一—、

Museum expert ? The value of Mr. Johnson's work leans entirely on the com- .. T Capt. Spowers. .

Mr. Johnson declares that Francis Bacon wrote the biographical

THE MORGAN COLEMAN MANUSCRIPTIn Baconiana (Jan. p.52) there is a transcript from two manuscripts of

Colemanrs little ''biography'' of Queen Elizabeth made by Captain Spowers.He admits the doubts and difficulties of accurate transcription from the

"/ ' J \ . .............. .了 - - • ▲ 、deciphering Elizabethan handwriting, the interpretations would differ in many

In Baconiana (Spring p* 74 etc.) Mr. Edward D. Johnson*s '’Tables'' are .............................. ■' * , w / ' ■ - _______ •…1

that a concealed message revealing the royal birth is contained in it. This

Coleman's little ''biography'' of Queen Elizabeth made by Captain Spowers.He admits the doubts and difficulties of accurate transcription from the

handwriting. It is highly probable that, given to two or three experts in p W T? 1 ； pcHCHc r LCf c 4sV* a — ...Cl〕： CT—_ :—

respects.

a stay of 6 months in London. Legends, never even touched

. 〜is for those biographical data, . now *'domiciled at The Hague/* my birth­

place. For the rest, if I have charged you with "hypocrisy", let it go, never

FROM KITE TO CROWAs * 'Crow11 makes use of rhyme in his letter in the Spring Number, perhaps

I may follow suit to conclude this verbal digladiation:If the Editor will permit, Though the Crow has lit His wit A bitAt the letter I writ,As is fit,I think we can now quit This twit.

A photograph of the lines from the manus< Bacon wrote them. Three original letters : vthe second volume of Anthony Bacon"s correspondence at Lambeth Palace, and the question as to whose hand wrote in the manuscript can soon be settled ・ I am sure that Captain Spowers of Toorak House, Melbourne, would be willing to have this leaf of his manuscript photographed.

Yours faithfully,一 James Downing.

alleged to show that Bacon wrote the biographical note in the manuscript, and that a concealed message revealing the royal birth is contained in it. This depends, in the first instance, on every letter being correctly transcribed by Capt. Spowers and, surely, this is most unlikely in view of the difficulties which he, and every transcriber of Elizabethan handwriting, always experience.

It would be interesting to have a photographic reproduction of this note about Queen Elizabeth, so that it can be interpreted independently by a British Museum expert ? The value of Mr. Johnson's work leans entirely on the com­plete accuracy of Capt. Spowers. .

Mr. Johnson declares that Francis Bacon wrote the biographical memor­andum, thus accounting for the secret message he claims to have found in it by the means of his tables. Bacon*s various handwritings are well-known.

" 、 ' 、 ’ ’ >cript would settle whether or notin Morgan Coleman *s hand are in

at Delft and Leyden Universities 1901-05, Civil Service Indonesia 1905-30, I never set foot on British soil before June 1924 for a si 一 一 一As to ''Rhcims,'' haven't read The Ingoldsby T German territory up to this day. ------ T―they may partly explain why I am

passage sounds like a reflection of this speech at the trial. Essex was tried by his peers. The player could not have gained admission, yet Shakespeare could not have imitated a speech at the Trial without having heard Cecil speak. Wc seem to have tracked the author of ^Hamlet** to Westminster Hall on 16th February 1600/1.

Shakespeare** at the Trial of the Earl of Essex.—In the second quarto

'But let me conjure you, by the rights of our fellowship, by the conson-

niore dear a better course

MS. is at my home in Australia—I . ------------- 2 you.'' Mr. Downing is incorrect in stating that Mr. Johnson "declares that Francis Bacon wrote this biographical memorandum.** What he said was, ' 'that this page was probably witten by Francis Bacon * * and gave

of ''Hamlet" (1604), this passage appeared for the first time:‘‘But let me conjure you, by the rights of our fellowship, by the conson-

ancy of our youth, by the obligation of our ever present love, and by what more dear a better proposes could charge you withal', &c.During the course of the Essex trial in 1601, Robert Cecil said:

adjure you, by the duty you owe ［一 . ' , ,to your Soveriegn, by all tokens of Christianity, and by ancient friend­ship and acquaintance once between us, that you name the counsellor.'* Those words were addressed to the Earl of Southpamton. The ''Hamlet''

r;〜 ’一：------- 二…—二二二一二一二-一 ' ' * \his peers. The player could not have gained admission, yet Shakespeare could

Wc seem to have tracked the author of ^Hamlet** to Westminster Hall on 16th

proposes could charge you withal'' &c., 3 of thr 二—q-''I adjure you, by the duty you

. , i are TheDevil's Charier by Bamabc Bamcs and the Second Quarto of Hamlet. Professor Dover Wilson lists eighteen variants in the latter.3

There are records that some authors attended at the printer's office to read

reading might begin, because no printer likes his presses or workmen to be left •sary alterations to the forme would be

There are thus often two states of the the sheets containing them are likely to

CORRESPONDENCE 247(We hope to be able to publish a facsimile photostat of the biographical

note regarding Queen Elizabeth but this cannot be until next year for Capt. W. Allan Spowers, in a personal letter to Mr. Johnson, mentions that he has been on the sick list but has now returned to his regiment in Malaya. He continues, ''I was most interested in your erudite article but I am afraid it deserves closer attention than I have so far devoted to it. I hope you will be able to sec this MS, on my return to London next April, but until then—as the MS； is at my home in Australia—I am \ *assistance to : … 二— 了___：_ *_________ ::一 二二二 ■: 二「declares that Francis Bacon wrote this biographical^memorandum.

his reasons for believing%诣s to be the case,—Editor).

The Editor, Baconiana.Sir,

VARIATIONS IN FIRST FOLIO COPIES AND FACSDIILESThe note headed ''A First Folio Puzzle** in the April '’Baconiana'',

p. 114, draws attention to differences in pagination in different copies of the First Folio. Perhaps it is not so well known that there are two states of p. 352 of the Tragedies (Anthony and Cleopatra} one of which is certainly the result of correction after proof-reading. A single leaf containing the first state of this r „ . ....... :: ' ' '• • '• '1 .八Phillips and is now in the Folger Shakespeare Library, Washington.1

made,) has the first state which can be identified by column 1 line 13 * * .«.On their, passe along.' * and column 2 line 7 *'...Swell at the of full Tide:*'. The later state of the page has **...On there. passe along/* and **...Swell at the full of Tide:'' which may be seen on the Methuen 1910 Facsimile.

At least four copies of the Folio have the original leaf containing the last

sides.1 This leaf was cancelled when it was decided to print Timon of A thens

to God, loyalty and allegiance you owe

ship and acquaintance once between us, that you name the counsellor.

note regarding Queen Elizabeth but this cannot be until next year for Capt.

the sick list but has now returned to his regiment in Malaya. He

deserves closer attention than I have so far devoted to it. I hope you will be

afraid I can only be of the slightest

What

p. 114, draws attention to differences in pagination in different copies of the

of the Tragedies (Anthony and Cleopatra)L , ■ ,___* …二「一 了一 vpage with the proof-reader's correction marks was discovered by J. O. Halliwell- Phillips and is now in the Folger Shakespeare Library, Washington.1 The Bridgewater copy of the Folio (from which the H. Staunton 1866 Facsimile was made,) has the first state which can be identified by column 1 line 13 * * ...On their, passe along.' * and column 2 line 7 ,'...Swell at the of full Tide:*'. The later state of the page has **...On there. passe along/* and **...Swell at the full of Tide:'' which may be seen on the Methuen 1910 Facsimile.

page of Romeo and Juliet and the first page of Troilus and Cressida on opposite

in the place originally left for Troih^s and Cressida,It is by no means rare to find difierent readings in individual copies of the

same edition of sixteenth and seventeenth century books. Examples

Dover Wilson lists eighteen variants in the latter.3

proofs.4 If the author were delayed, printing from a forme prior to its proof-

idle. When the author arrived any ncccs: made at the press before work continued . forme, corrected and uncorrected, and -

CORRESPONDENCE

many copies of the edition as possible in detail. Recently devised optical

or bibliographical point in the First Folio to specify the original copy or facsimile

E. R. Wood.

had printed the Catalogue

,wimprovements *J of the anonymous workman perfectly straight, (ii) omission of several \ * drawing of ornament on first page of i Henry

From a printer *s or binder *s point of view the pagination of a book is not of

gathering. Many of the paging-

sent him proofs and revises.Jaggard ! °

•.See gathering E (Comedies, pp. 49/6of where page numbers5工 and 58, which come on one side of a. sheet, are duplicated.

?.e.g. the Epilogue page to 2 Henry IV is numbered 101 and the fifth page of Troilus and Cressida 82. The figures seem to be additions in manuscript and probably do not occur in any of the original copies of the Folio.

plates! As far as the text is concerned it appears to be reliable. The principal rnwwcmeCtj，，rxf 未 Xc L» m«rvf fill m 1/*Q.

signatures and catchwords, (iii) re- ‘ VI (p. 96, Histories) in symmetrical

248be printed on the other side (''perfected'') and gathered quite fortuitously with other sheets which themselves may be of two states. A particular copy of the book may contain only t£ few pages in the uncorrected state. As corrections were sometimes made wrongly it is desirable, for textual accuracy, to compare as many copies of the edition as possible in detail. Recently devised optical aids may facilitate collation of all the extant copies of the First Folio. About 230 arc known ・ •

From a printer *s or binder*s point of view the pagination of a book is not of much value. If the sheets are signed correctly and properly folded the pages automatically come in the right places on gathering. Many of the paging- errors in the First Folio can be shown to be due to negligence on the part of the compositors. In several cases the workmen forgot to change the page numbers when putting the type for new pages into the chases.0 There is a simple rule connecting the page numbers on one side of a folio sheet ("conjugate pages*')• The sum of two conjugate page numbers is a constant figure for the whole of a gathering. For example, in gathering S (in the Comedies) it is 421 (205+216. 206+215. 207+214, 20S4-213 etc.). Presumably page 214 was originally numbered 212 by mistake, After some comies had been printed the proof-reader may have noticed that the sum of the conjugates 207 and * 'wrong. 乙..：—v 二--------- --------- 1 'sheets printed. An incorrectly numbered number and vice-versa. ~ *

NOTESReproduced in facsimile in E. E. Willoughby's The Printing of the First

Folio of Shakespeare, 1932, Bibliographical Society.z.Shakespeare Survey it 1948, Cambridge U. P.» p. 59 and note 2. 2This

sheet is also reproduced in Willoughby's monograph quoted above.z.Thc Manuscript of Shakespeare rs Hamlet and the Problems of its Transmission,

1934. Cambridge U. P.» pp. 123/4.4<For example, Nashe and George Gascoigne (see R・ B, McKenow, Intro­

duction to Bibliography, 1928 and 1948, Oxford U. P・，p. 205.). Of particu­lar interest is William Jaggard's spirited defence of his reputation as a printer prefaced to Vincent *s Discovery of Errors in Brooke rs Catalogue of Nobility, 1622. Brooke blamed Jaggard, who had printed the Catalogue in 1619, for his own errors! Jaggard says that Brooke ' 'stood sentincll at the Presse, kept such strict and diligent guard there, as a letter could not passe out of his due rank, but was instantly checkt and reduced into order;1 *. When Brooke was ill Jaggard sent him proofs and revises. It was for Vincent's book—a ''rush'' job—-that Jaggard suspended work on the First Folio about October, 1621.

.Shakespeare Survey 2, 1949» Cambridge U. P.» p. 150.(二-b、•，— ’• ......................•一.:' •

5工 and 58, which come on one side of a. sheet, are duplicated. .

Troilus and Cressida 82. The figures seem to be additions in manuscript and

when putting the type for new pages into the chases.。There is a simple rule

The sum of two conjugate page numbers is a constant figure for the whole of a

2064-215, 207+214,&2。§+盖3 etc.). Presumably page 214 was originally

w 1 212 was 419 which isHe found where the error was and had it corrected for the rest of the

. even page is never given an oddnumber and vice-versa. Such an error would be immediately apparent to any workman.

lu view of the variations between copies it is best when referring to a textual or bibliographical point in the First Folio to specify the original copy or facsimile consulted* In particular great caution is necessary in using Halliwell-Phillips^ Reduced Facsimile. This is said to have been reduced from Staunton's Facsimile but at some stage in the process a misguided workman touched up nearly all the

are (i) reducing of all rules- ;ures and catchwords, (iii)

form (一the plate may have been damaged in the process of reproduction) and (iv) touching up of a few letters and page numbers ?

Yours faithfully.

Francis Bacon's Personal Life-Story. By Alfred Dodd.

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n/-Bacon's Nova Resuscitatio. 3 vols. By Walter Begley 10/-

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Shakespeare's Sonnets Unmasked. By Bertram G. Theobald . 5/6

3/6Bacon Shakespeare Coincidences. By E. D. Johnson ・

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The Fictitious Shakespeare Exposed. By Edward D. Johnson 2/9

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His Erring Pilgrimage, Interpretation of **As You Like It."By Miss M. Sennett.

Shakespeare: New Views for Old.】4 Illustrations. By R. L.Eagle

Secret Shakespearean Seals: Revelations of Rosicrucian Arcana. 78 Illustrations. By Fratres Rose® Crucis . .

Enter Francis Bacon: The case for Bacon as the true *'Shake­speare.* * By Bertram G. Theobald

The Bacon -Shakespeare Anatomy. 2 Illustrations. By W. S.Melsome. M.A

Was Shakespeare Educated ? By W. G. C. Gundry. 14 Illus­trations

Exit Shakspere: An outline of the case against Shakspere. ByBertram G. Theobald

The Private Life of the Virgin Queen. 309 pages. By CornynsBeau mont. Illustrated

Francis Bacon Concealed and Revealed: Bacon's Secret Signa­tures in his unacknowledged works. 15 Illustrations. By Bertram G. Theobald

The Shaksper Illusion. Coloured Cover, 50 pages, 5 Illustrations.By E. D, Johnson

The Shakespeare Myth and Macbeth Proves Bacon is Shakes - peare. By Sir Edwin Durning-Lawrence, Bt. . .

Francis Bacon, A Guide to His Homes and Haunts. 22 Illus­trations .By W. G. C. Gundry

All interested in Bacon's life and principal dwellings and haunts should secure a copy of this delightful brochure.

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Shakspere's Real Life Story (published by the Bacon Society). Who wrote the so-called "Shakespeare** Plays? By Sir

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